Frank  Seaman 

To  whose  generosity  and  patience,  the 
little  contained  in  this  book  is  due. 

The  c Author . 

March  19,  1918 

Yama  Farms,  Napanoch,  N.Y. 


Cp)E%UAPS  Pottery— 
^ the  art  of  moulding  and 
hardening  clay — may  claim  to 
be  the  mother  of  all  the  arts. 

CHAFFERS. 


The  Pottery 

and  Porcelain  at  the  Hut 
Yama  Farms 


Foreword 

This  little  book  is  designed  as  a guide 
for  those  who  visit  the  porcelain  room  at 
the  Hut.  If  it  shall  lead  one  person  to  live 
again  in  spirit  among  the  struggling  Stafford- 
shire Potters;  to  enjoy  the  fruition  of  their 
experiments  in  the  times  of  Josiah  Wedg- 
wood; to  appreciate  the  efforts  of  many 
master  workmen  and  chemists  in  seeking  a 
hard,  true  porcelain,  and  to  know  the  last- 
ing fame  England  has  achieved  commer- 
cially by  her  great  pottery  industry,  it  will 
have  exceeded  its  intentions. 

The  collection  at  the  Hut  was  begun,  be- 
cause nothing  seemed  to  be  so  happy  in  a 
log  house  as  “old  china.  “ It  was  mostly 
collected  with  a view  of  obtaining  usable  sets, 
and  the  pieces  from  which  a comprehensive 
survey  of  the  development  of  English  pot- 
tery and  porcelain  may  be  traced,  have 
been  the  result,  rather  than  the  intention  in 
the  beginning. 


Terms 


npHERE  exists  some  misconceptions  about  terms  for  the 
A products  of  the  potter’s  art.  Ceramic,  which  means  per- 
taining to  the  fictile  art  (also  correctly  spelled  keramic)  comes 
from  Ceramicus  that  section  of  ancient  Athens  which  was 
given  up  to  the  making  of  pottery.  The  Greek  word  for 
potter’s  clay  and  earthenware  vessels  is  keramos. 

The  potter’s  products  with  which  we  commonly  come  in 

/ pottery 

contact  may  be  broadly  divided  into  three  classes:  j faience 

\ porcelain. 

The  word  pot  is  of  Celtic  origin  and  pottery  is  soft,  lightly- 
fired,  opaque  earthenware,  glazed  or  unglazed.  Earthenware 
might  be  used  to  cover  all  ware  made  from  mineral  substances 
taken  from  the  earth,  but  when  it  is  sufficiently  fired  so  that 
the  mass  fuses  hard,  and  is  non-porous,  it  becomes  stoneware, 
both  included  under  the  term  pottery.  They  may  be  glazed  or 
not  without  losing  the  classification. 

Faience  is  often  loosely  used  to  denote  any  ware  between 
pottery  and  porcelain.  Properly  used  it  is  a ware  the  body  of 
which  is  soft  clay  covered  with  a stanniferous  enamel.  It  was 
the  first  ware  to  require  two  firings.  Much  of  the  early 
Italian,  French  and  Dutch  ware  was  faience.  It  is  said  to 
have  been  invented  in  Faenza,  Italy  in  1299.  “English 
Delft”  is  the  earliest  English  example  of  faience. 

Porcelain  is  transluscent  vitrified  ware  which  has  been  fired 
at  high  temperature  when  glazed,  and  has  a transluscent  glaze 
also.  It  is  divided  into  hard  paste  (pate  dure)  soft  paste  (pate 
tendre)  and  mixed  or  hybrid  paste.  The  word  porcelain  is 
often  traced  to  the  Italian  porcellana,  because  its  finely  polished 
surface  was  compared  to  the  Venus  shell  or  purple  fish — so 
called  because  the  curved  shape  of  the  upper  surface  resembles 
the  curve  of  a pig’s  back — porcella — a little  pig. 

China , the  short  word  for  chinaware,  is  the  common  term 
employed  in  England  and  the  United  States  for  porcelain, 
because  the  first  porcelain  in  Europe  was  brought  from  China. 
It  has  no  generic  significance. 


Periods  in  the  Development  of 
English  Porcelain 


English  pottery  from 
the  earliest  period  to 
preceding  printing, 
about  1760. 


Glazed  earthenware 
Slip  decorated  ware 
Stoneware 

“English  Delft”  or  faience 
Salt  glaze 
Cream  ware 


Wedgwood  Period 
1750  to  1800. 


Green  glaze 
Queen’s  ware 
Jaspar 
Lustres 

Pearl  earthenware 
Printing  under  glaze 


English  Porcelains 
Roughly  between 
1750  and  1825. 


Bow  ) 

Chelsea  | 

Derby 

Loughton  Hall  I 

Nantgarw  | 

Puixton  and  Locksey 
Swansea  1 

Worcester 
Caughley 

Coalport  J 

Plymouth 

Bristol 

New  Hall  ' 

Spode 

Rockingham 

Davenport 

Wedgwood 

Minton 


Combined 


a 


a 


u 


Map  of  England  showing  location  of 
the  most  famous  early  potteries 


i 


ZhQotes 


The  17th  and  18th  Centuries 
in  England 


AN  era  of  discovery  possesses  an  element  of  recurring  charm. 
-1  The  development  of  English  porcelain  covers  a period  of 
two  hundred  years,  the  17th  and  18th  centuries,  and  craftsmen 
were  experimenting  along  different  lines  in  three  parts  of 
England.  A discovery  in  the  London  district  was  afterward 
pursued  a step  farther  in  Staffordshire: — a new  material  intro- 
duced way  down  in  Plymouth  was  destined  to  divide  English 
clay  wares  into  the  two  great  divisions — pottery  and  porcelain. 
Carts  and  wagons  were  rare  in  those  days  and  examples  of 
wares  and  news  travelled  on  horseback  and  amid  dangers  of 
the  highwayman. 

Two  hundred  years  ago  very  few  people  had  ever  seen  a 
piece  of  porcelain,  and  still  fewer  possessed  even  one  tea  cup. 

The  food  of  the  period  consisted  of  oaten  bread,  butter, 
cheese,  mutton  and  ale — -served  on  trenchers  of  wood  and  on 
pewter  and  in  rough  earthenware  jugs. 

In  1609,  at  the  launching  of  the  first  ship  built  for  the  East 
India  Company,  King  James  I partook  of  a banquet  at  which, 
“as  a specimen  of  eastern  magnificence,  all  the  tables  were 
covered  with  dishes  of  China  ware.” 

With  the  introduction  of  tea  into  England  at  about  this 
time,  porcelain  cups  brought  with  the  tea,  were  not  in  suffi- 
cient quantities  to  supply  the  demand  which  soon  spread  to 
all  classes.  This  was  one  of  the  most  powerful  incentives  to 
the  discovery  of  materials  that  would  make,  and  methods  that 
would  produce,  hard  resisting  porcelain  such  as  had  been 
brought  from  China.  In  the  preserved  examples  of  the 
miscalled  “Lowestoft”  we  have  evidence  of  what  much  of  the 
porcelain  from  China  was  at  that  time,  which  the  English 
potters  were  seeking  to  imitate. 

The  first  step  beyond  earthenware  either  glazed  or  un- 


glazed  was  a hard  stone  ware  glazed  with  salt.  The  next  step 
was  the  cream  ware  pottery  to  which  calcined  powdered  flint 
was  added.  With  the  discovery  of  kaolin  or  china  clay  came 
porcelain  and  after  that  practically  all  the  important  pot 
works  gravitated  to  the  Midland  Counties,  especially  Stafford- 
shire or  to  the  banks  of  the  Severn  where  Devon  clays  were 
easily  brought  by  boat.  Thus  grew  up  the  district  known  as 
“The  Potteries,”  where  unrivaled  for  practical  purposes  has 
been  built  up  the  great  English  industry  in  pottery  and  in 
porcelain. 

It  is  because  of  the  work  of  these  pioneers — their  experi- 
ments both  successes  and  failures — their  improvements  in  the 
preparation  of  clays,  in  methods  of  firing,  in  kilns  and  saggars, 
that  we  cherish  these  first  examples.  Into  many  pieces  went 
the  heart  of  the  worker,  and  any  object  produced  under  such 
conditions  must  forever  hold  a different  value,  must  merit  a 
different  judgment — than  the  millions  of  dishes  now  scientifi- 
cally fired  by  electricity,  and  all  that  science  and  chemistry 
and  mechanics  has  brought  to  the  industry — and  which  are 
turned  out  as  so  much  clay  turned  into  money  purchasing 
power  by  the  maker,  and  which  can  easily  be  replaced  by  the 
user. 

The  period  covered  by  these  earnest  workers  and  discoverers 
saw  the  changes  in  Governments  as  follows:  Puritan  England 
from  1603  to  1660  covered  the  reigns  of 

Charles  I — 1625  to  1649. 

Cromwell — 1649  to  1658-9  and  the  restoration  of  the 
Stuarts  under 

Charles  II — 1660  to  1685. 

James  II — 1685  to  1688. 

Then  came  the  landing  of  William  of  Orange  and  Mary-^P 
1689  to  1702  followed  by  Queen  Anne  1702-1714. 

Then  came  the  House  of  Hanover  during  which  reigns  the 
greatest  progress  was  made  in  ceramic  art — 

George  I — 17 14-1727. 

George  II — 1727-1760. 

George  III — 1760-1820 — Sixty  years!  which  covers  the 
Wedgwood  period  and 

George  IV — 1820-1830. 


Clay  and  Methods 


Materials — Clay  is  a fine  grained  substance  derived  from 
the  decay  and  hydration  of  aluminous  silicates,  white  when 
pure,  but  usually  mixed  with  impurities  imparting  various 
shades  of  gray,  green,  brown,  red,  purple  or  blue.  When  wet 
it  can  be  kneaded  between  the  fingers,  and  kaolin,  often  called 
china-clay  is  one  of  the  whiter,  purer  forms  of  clay  resulting 
from  the  decompositions  of  the  felspars  of  granite.  Kaolin 
was  long  known  and  used  in  the  Orient  for  porcelain  before  its 
discovery  in  England  by  Wm.  Cookworthy,  at  Plymouth  about 
1745- 

Among  the  aluminous  silicates  we  find  the  mineral  family 
of  felspars,  which  form  a large  part  of  the  crystalline  rocks 
erupted  from  below.  In  decomposition  they  give  clays,  but 
when  found  in  the  form  of  stone,  mixed  with  quartz,  it  is 
ground  and  forms  one  of  the  chief  ingredients  of  true  porcelain. 
In  England  these  rocks  are  called  China-stone  and  to  the  above 
china-clay  and  china-stone  are  due  the  fictile  productions  of 
the  whole  world.  To  them  for  various  purposes  and  forms 
are  added  in  varying  proportions  many  minerals  and  metals 
like  lead,  flint,  barium,  sodium,  borax,  chalk,  etc. 

Methods — The  potters  wheel  onto  which  a lump  of  moist, 
plastic  clay  mixture  is  thrown,  and  then  shaped  by  the  hand 
of  the  potter  while  the  wheel  is  revolving,  is  older  than  authentic 
history.  It  is  the  method  of  potting  most  adhered  to  through- 
out the  east. 

Another  method  of  forming  clay  wares  is  called  moulding 
(from  the  French  verb  moulage)  or  in  England  pressing. 
Plastic  clay  is  forced  into  forms,  usually  of  metal  and  left  to 
shrink  as  it  dries.  This  was  the  method  used  by  the  early 
makers  of  salt  glaze  and  the  thin  pieces  thus  made  were  believed 
to  be  in  the  direction  of  the  secret  of  Chinese  porcelain.  Larger 
pieces  are  pressed  into  a number  of  moulds  and  then  the  pieces 
when  taken  out  of  the  moulds,  are  joined  together  with  more 
of  the  mixture  to  cover  up  the  seam  and  adhering  sometimes 
by  the  use  of  slip — the  whole  fusing  together  in  the  furnace. 
Spouts  and  handles  are  moulded  and  then  attached  to  either 
thrown,  moulded  or  cast  pieces. 


The  way  of  casting  clay  was  invented  in  the  Staffordshire 
potteries,  and  seems  to  have  been  unknown  in  the  Orient. 
Making  clay  wares  by  casting  means  pouring  into  a porous 
mould  (usually  of  plaster  of  Paris)  a mixture  of  clay  and  water 
of  the  consistency  of  batter.  As  the  moisture  is  absorbed 
through  the  mould,  the  clay  mixture  next  the  mould  begins 
to  harden.  When  this  partially  hardened  lining  of  the  mould  is 
the  desired  thickness,  the  batter  mixture  or  slip  is  poured  out 
and  the  drying  layer  of  clay  is  left  to  dry  and  harden.  It 
shrinks  in  drying  and  is  easily  removed  from  the  mould. 
Very  thin  ware  can  be  produced  by  this  method  and  western 
potters  have  sought  thus  to  imitate  the  “egg  shell”  porcelains 
of  the  Orient.  The  Chinese  do  not  employ  this  method,  as 
their  thin  porcelains  are  made  by  cutting  down  the  clay  with 
sharp  instruments  requiring  very  skilful  fingers. 

As  a rule  the  Oriental  fires  his  body  and  glazing  at  one 
operation,  but  not  always.  Most  European  porcelains  after 
throwing,  moulding  or  casting  are  fired  at  a moderate  degree  of 
heat  into  what  is  known  as  a “biscuit”  form.  All  forms  of 
European  porcelain  that  are  unglazed  are  called  biscuit. 

So  called  “firing”  of  clay  is  the  method  of  subjecting  it  to 
such  extreme  heat,  as  will  fuse  the  silicates  into  a hard  mass. 
The  objects  are  first  put  into  saggers,  a case  which  has  been 
made  on  the  potter’s  wheel  of  fire-clay,  i.  e.,  clay  that  is  not 
affected  by  extreme  temperatures.  To  keep  these  absolutely 
free  from  any  particles  that  might  fall  onto  the  piece  inside,  to 
its  detriment,  has  always  been  one  of  the  finer  points  of  firing. 
These  saggars  protect  the  ware  from  the  flames  and  smoke  of 
the  furnace  or  kiln.  Among  later  inventions  are  muffle  kilns 
where  smoke,  etc.,  are  conducted  by  flues.  The  degree  of  heat 
required  varies  according  to  the  mixture,  and  are  often 
determined  by  the  effect  it  is  desired  to  produce  in  the  glaze. 
When  not  finished  in  one  firing  the  ware  is  removed  in  the 
biscuit,  and  glazed  and  decorated  as  the  case  may  be. 

To  the  biscuit  in  Europe,  but  to  the  unfired  body  in  true 
Chinese  and  kindred  porcelains,  is  applied  a glaze  rich  in  oxide 
of  lead.  This  is  applied  in  several  ways, — by  dusting  on  in 
powdered  form,  by  penciling  with  a brush,  by  dipping  small 
pieces  into  a glaze  solution  anji  by  blowing.  The  Chinese 


accomplish  the  blowing  by  the  workman  actually  blowing  the 
glaze  through  a piece  of  gauze  at  one  end  of  a hollow  bamboo; 
the  modern  potter  does  the  same  work  with  compressed  air. 

Decoration — The  decoration  of  the  clay  object  after  it  is 
hardened  by  drying  or  firing,  is  necessarily  as  varied  as  the 
workers,  but  the  limits  of  such  embellishment  may  be  included 
under  the  following: 

Slip-decoration  consists  in  decorating  a clay  body  with  a thin 
mixture  (slip)  of  water  with  a clay  usually  of  different  color, 
through  a fine  tube  or  quill,  much  as  a pastry  cook  decorates  a 
cake. 

Moulded  designs  in  relief  are  first  when  moist  clay  pressed 
into  a metal  mould,  and  then  attached  to  the  body  of  the 
ware  by  slip  or  water. 

Marbling  is  done  with  several  thin  layers  of  different  colored 
clay  mixtures  pounded  together,  and  then  cut  into  slices  that 
are  afterwards  moulded,  occasionally  thrown. 

Incising  is  picking  out  the  design  by  hand  with  a sharp  in- 
strument or  on  a lathe  from  the  clay  body  before  it  is  entirely 
hard.  This  is  sometimes  done  when  only  the  outer  coat  of 
enamel  is  thus  etched  showing  another  color  clay  body  beneath. 
It  is  also  done  to  greatest  perfection  in  China  where  the  design 
is  left  which  is  only  a fractional  thickness  of  the  body,  thus 
letting  light  through. 

Punched  porcelains  are  cut  entirely  through  the  ware  making 
holes  of  different  shapes  to  form  a design.  This  was  practiced 
in  England  in  the  18th  Century  suggested  by  the  reticulated 
porcelain  of  China. 

Stamping  was  at  one  time  practiced  by  sticking  a piece  of 
moist  clay  onto  the  body  and  then  pressing  with  a metal 
stamp,  much  as  we  use  sealing  wax  and  a seal. 

Pate  sur  Pate  consists  of  attaching  blocks  of  soft  clay  mixture 
to  the  body  and  then  modelling  this  block  with  sharp  tools. 

Colored  Glazes  are  produced  to  greatest  perfection  by  the 
Chinese  and  have  never  been  equalled  by  the  western  world. 
Such  glazes  are  produced  by  metallic  oxides.  When  put  on  in 
splotches  they  form  mottled  ware.  When  put  on  only'the  top 
of  a piece  and  allowed  to  run  unevenly,  the  ends  of  the  running 
are  called  “tears.”  When  the  ware  is  covered  entirely  with 


glaze,  the  color  depends  largely  upon  the  temperature  at  which 
it  is  fired,  and  with  some  oxides  whether  it  is  mixed  with  an 
alkaline  solution,  in  others  to  whether  it  is  applied  to  an 
unfired  or  a biscuit  body. 

Painting  in  enamel  colors  both  over  the  glaze  and  under  the 
glaze  is  probably  more  practised  than  any  other  method.  All 
colors  used  for  such  painting  are  minerals  mixed  with  flux  or 
glass.  The  range  of  colors  depends  upon  the  degree  of  heat  to 
which  the  ware  will  be  subjected,  hence  there  are  colors  that 
can  be  used  for  painting  over  the  glaze  that  would  entirely 
disappear  if  fired  at  a temperature  required  for  fusing  body 
and  glaze. 

Printing  both  on  glaze  and  under  glaze , commands  the  same 
range  of  colors  as  painting.  The  design  is  etched  on  copper  as 
for  printing,  and  then  printed  on  a thin  paper  from  which  it  is 
transferred  to  the  ware. 


Blue  pie-crust  edge. 

Cream  ware  pottery,  marked  Davenport. 


Stoneware 


GTONEWARE,  made  of  plastic  clay  to  which  a little  sand 
^ and  sometimes  ground  baked  clay  is  added,  was  first  de- 
veloped and  fused  into  a hard  ware  in  Germany.  There  were 
many  factories  making  various  colored  stonewares  in  the  fac- 
tories of  the  Rhineland  in  the  16th  Century. 

As  stoneware  will  not  stand  a sudden  change  in  temperature, 
is  apt  to  crack  if  put  on  the  fire,  or  split  if  it  comes  in  contact 
with  boiling  water,  its  use  was  mostly  confined  to  beer  jugs, 
tankards  and  ornamental  pieces. 

The  duties  levied  on  its  importation  into  England  were  so 
prohibitive  that  its  manufacture  was  begun  in  England  dur- 
ing the  reign  of  Elizabeth,  as  is  attested  by  several  patents 
granted  at  that  time 

Not  until  1671  have  we  any  examples  to  show  that  the 
potters  did  more  than  imitate  the  German  ware,  but  in  that 
year  John  Dwight  began  the  manufacture  of  stoneware  not 
only  in  useful  articles  employed  by  the  people  daily,  but  he 
also  made  a very  hard  fine  stoneware  in  small  statues,  fine  salt 
glazed  pieces,  fine  red  earthenware  and  some  stamped  and 
mottled  wares.  He  claimed  to  have  solved  the  mystery  of 
porcelain,  but  none  of  his  works  that  survive  are  of  that  nature 
and  his  book  of  receipes,  which  is  now  in  an  English  museum, 
contains  no  formula  that  could  make  a true  porcelain  as  now 
understood. 

The  pieces  that  survive  are  of  such  a high  character  that 
M.  Solon  says,  “Nothing  among  the  masterpieces  of  ceramic 
art  of  all  other  countries,  can  excel  the  beauty  of  Dwight’s 
brown  stoneware  figures,  either  for  design,  modelling  or  fine- 
ness of  material.” 

Dwight’s  factory  was  at  Fulham  now  a part  of  London  where 
it  remained  in  his  family  until  1862.  In  later  years  they  made 
commercial  pottery  only,  such  as  filters,  etc. 

A walled  up  chamber  of  the  old  works  was  opened  a number 
of  years  ago  and  a quantity  of  ale  jugs  called  “Bellermines”  or 
Graybeards  were  found.  Simdar  jugs  have  been  found  all  over 
England  and  it  is  difficult  to  distinguish  between  those  of 
English  and  German  manufacture. 


While  the  London  potters  continued  to  make  hard  stone- 
ware in  imitation  of  German  wares,  the  potters  of  the  Midland 
counties,  having  a great  abundance  of  suitable  clay,  coal  and 
salt  at  hand,  built  up  a large  industry  which  flourishes  to  the 
present  day.  Removed  from  direct  importations  from  the 
continent,  and  from  foreign  fashions  and  influences  the  stone- 
ware made  in  the  17th  Century  at  Nottingham,  Chesterfield, 
Brampton,  Congleton,  etc.,  took  on  a more  distinct  English 
character.  The  dark  bear  mugs,  with  white  clay  eyes  and 
teeth,  were  produced  in  quantities  and  posset  pots,  tygs, 
puzzle  jugs,  etc.,  are  truly  English  in  manner.  It  was  in  the 
Midland  counties  that  great  jugs  with  the  handle  in  the  shape 
of  a hound  originated  and  are  still  made. 


Bellermine,  or  Graybeard,  the  common  ale  jug  of  the 
17th  Century.  Many  imported  from  Germany  and 
many  made  at  Fulham,  now  in  London. 


Slip  Decorated  Pottery 


T3REVIOUS  to  the  17th  Century  there  is  little  to  distinguish 
^ the  peasant  pottery  of  England  from  that  common  on  the 
continent.  It  consisted  of  native  clays,  fired  to  different  shades 
and  usually  covered  with  a glaze  of  lead,  dusted  on  in  powdered 
form  before  firing. 

These  were  simple  beginnings,  made  by  peasants,  but  the 
17th  Century  is  marked  by  a gradual  increase  in  the  care  of 
production  and  by  using  clays  which  burn  to  a light  color  in 
contrast  with  the  brick  red  earth  of  the  ware.  At  first  the  light 
clays  are  used  in  decorations.  Before  firing,  a thin  mixture  of 
clay  and  water  is  run  through  a quill  in  dots  or  lines,  or  traced 
in  dates  and  names.  This  is  the  beginning  of  slip  decoration, 
of  which  painting  in  contrasting  clays  on  a clay  body  has 
reached  a high  development  in  our  Rookwood  Pottery. 

Tygs,  a name  evidently  developed  from  the  Roman  tegula 
(tile)  that  were  among  the  first  clay  fabrications  of  England, 
are  cups  in  which  a drink  was  brewed,  and  a piggin  with  which 
it  was  ladled,  bowls,  mugs,  jugs,  possetpots,  miniature  cradles 
(popular  gifts  at  marriages)  were  common  among  the  peasants. 

In  the  diary  of  William  of  Malmsbury  occurs  this  reference  to 
tygs,  which  were  many  handled  and  stood  in  the  middle  of  the 
table:  “Formerly  the  vessels  were  regularly  divided  to  pre- 

vent quarrels.  King  Edward  commanded  the  drinking  vessels 
to  be  made  with  knobs  on  the  inside  at  a certain  distance  from 
each  other,  and  decreed  that  no  person  under  a certain  penalty, 
should  either  himself  drink,  or  compel  another  to  drink  at  one 
draft,  more  than  from  one  of  these  knobs  to  another.” 

Occasionally  the  name  of  a maker  has  survived,  as  in  Ralph 
Toft,  and  so  many  dishes  signed  by  him  are  extant,  and  of  such 
a similarity  of  make  and  treatment,  that  slip  decoration  is  often 
loosely  referred  to  as  Toft  Ware. 

Coarse  clay  ware  is  still  made  and  decorated  with  slip  in 
many  potteries  in  England.  In  material  it  is  somewhat 
analagous  to  Japanese  teabowls,  but  as  yet  no  very  large  class 
of  people  in  England  or  America  has  placed  such  a high  aesthetic 


value  on  such  simple  wares  as  do  the  Japanese  through  their 
tea  ceremony  and  all  it  means  to  them. 

Among  the  early  Dutch  settlers  in  Pennsylvania  a number  of 
pot  works,  making  rude  slip  ware,  antedate  our  larger  potteries. 
Even  today  slip  decorated  pie  plates  are  still  made  there. 

The  tulip  is  among  the  favorite  decorations  of  the  Pennsyl- 
vania potters  and  one  might  wonder  if  the  report  of  this 
inscription  in  the  King’s  palace  at  Ispahan  ever  reached  them. 
It  is  thus  quoted  by  Chardin,  “I  have  taken  the  tulip  for  my 
emblem:  like  it  I have  a countenance  of  fire  and  a heart  of  coal.” 


Elers 


TN  the  train  of  William  of  Orange  who  ascended  the  English 
^ throne  in  1688  came  two  Dutch  gentlemen  named  Elers. 
One  of  them  settled  in  Staffordshire.  Whether  he  was  ex- 
perimenting in  alchemy  and  sought  seclusion,  or  whether  he 
simply  desired  to  live  apart  from  his  neighbors,  is  not  known. 
At  any  rate  on  the  west  side  of  the  valley  of  “the  potteries”  in 
Bradwell  wood,  this  foreign  gentleman,  for  more  than  twenty 
years  made  small  red  clay  tea  pots,  jugs  and  mugs  of  a kind  not 
hitherto  made  in  England.  Many  chemists  and  potters  were 
ardently  seeking  the  secret  of  the  translucent  white  porcelain 
from  China.  No  further  progress  than  the  red  unglazed  tea 
pots,  quite  equal  in  workmanship  to  those  that  had  come 
from  the  Orient,  by  the  Dutch  East  India  Company,  was  made 
by  Elers,  and  he  subsequently  removed  to  London.  These 
teapots  were  thrown  on  a wheel  with  thin  handles  (not  moulded) 
and  when  the  clay  body  was  partially  dry  a moister  clay  was 
laid  on  and  stamped  in  delicate  designs  with  brass  stamps, 
some  of  which  are  preserved.  Even  in  that  day  they  were  so 
highly  prized  that  they  sold  for  a guinea  a piece  in  London. 

It  is  said  that  only  feeble  minded  and  stupid  workmen  were 
employed  at  this  remote  pot  works  and  historians  tell  of  two 
men,  Twyford  and  Astbury  who  simulated  idiocy  in  order  to 
learn  the  methods  of  Elers.  Both  these  men  afterwards  oper- 
ated potteries,  and  to  Astbury  is  ascribed  the  first  use  of  fine 
white  clay  from  Devonshire,  put  on  the  red  ground,  stamped 
with  a pattern  and  fired  with  a lead  glaze. 

Abundance  of  various  clays,  families  in  which  the  making  of 
pottery  had  been  carried  on  for  many  years,  and  constant 
experiments  in  materials,  led  to  great  activities  during  the 
latter  half  of  the  18th  Century.  Powdered  calcined  flint  was 
introduced  during  this  time  and  firing  stoneware  with  common 
salt — these  two  innovations  led  to  the  two  most  distinctive 
and  most  English  of  Staffordshire  pottery — namely  “Salt-glaze” 
and  “cream  ware.” 

Just  what  part  Elers,  Twyford,  Astbury,  Ralph  Shaw  and 
others  played  in  the  development  of  these  wares  is  now  beyond 


finding  out  to  a certainty,  and  examples  of  characteristic 
wares  have  assumed  the  names  Elers,  Astbury  and  others,  as 
signifying  a particular  ware  rather  than  any  certainty  that  it 
was  made  by  these  particular  individuals. 


Astburv  Jug,  made  of  red  clay,  with  white  “pipe  clay” 
figures  in  relief,  stamped  on,  and  all  glazed  with  lead. 
Early  18th  Century  piece. 


Stoneware  Jug  with  moulded  figures.  Marked  Neale  & Co. 


English  “Delft” — Lambeth 


npHE  majolica  of  Italy,  the  faience  of  Rouen  and  Nevers 
^ in  France,  and  the  Delft  of  Holland — all  tin-enamelled 
pottery,  requiring  two  firings,  were  known  to  English  trav- 
ellers and  potters  in  the  17th  century.  There  was  a brisk 
trade  in  Delft  coming  into  the  port  of  London.  The  Hol- 
landers had  succeeded  in  making  an  imitation  of  Chinese 
porcelain  which,  if  not  closely  examined,  was  deceiving,  and 
it  was  in  search  of  the  secret  of  Chinese  porcelain  that  Eng- 
lish potters  began  the  manufacture  of  tin-enamelled  wares  at 
Lambeth,  now  a part  of  London.  Although  twenty  potteries 
are  said  to  have  been  making  English  “Delft”  there,  not 
much  has  survived  to  the  present  time.  Early  in  the  seven- 
teenth century,  tiles,  bottles  for  wine  and  drugs,  pill  slabs, 
jugs  and  plates  were  made  in  quantities  at  Lambeth.  These 
all  have  a coarser  red  clay  body  with  a thin  coating  of  stan- 
niferous enamel  and  were  painted  mostly  in  blue.  Many  are 
signed,  inscribed  and  some  are  dated.  Often  this  enamelled 
ware,  made  in  England,  may  be  distinguished  by  having  only 
the  face  of  the  plate  enamelled,  the  back  having  a lead  glaze 
over  the  clay.  The  body  of  the  English  calcareous  clays  did 
not  as  thoroughly  combine  with  the  thin  coating  of  enamel  of 
white  slip,  as  the  clays  used  in  Holland  did,  and  some  specimens 
of  English  make  may  be  recognized  by  the  pinkish  cast  that 
shows  the  red  clay  through  the  tin  enamel.  To  the  Lambeth 
potteries  are  ascribed  the  two  series  of  Merryman  plates, 
which  came  in  numbered  sets  of  six,  with  one  line  of  a rhyme 
on  each  plate. 

Similar  “English  Delft”  was  made  at  Liverpool  in  the  17th 
Century  in  great  quantities.  It  was  practically  abandoned 
there  after  1760  to  make  the  then  common  cream-ware  that 
had  been  developed  in  Staffordshire.  This  Liverpool  faience 
is  particularly  noted  for  its  large  punch  bowls — doubtless  used 
on  the  ships  that  were  so  frequently  sailing  from  the  seaport 
on  the  Mersey.  Many  of  these  bowls  have  the  name  as  well 
as  the  picture  of  a sailing  ship.  Ship  designs  were  also  used 
on  large  jugs  but  should  not  be  confounded  with  the  later 


printed  cream-ware  “Liverpool  Pottery  Jugs.”  Sadler  and 
Green,  who  invented  the  method  of  printing  on  pottery  by 
transfer,  lived  in  Liverpool,  and  the  sale  of  Liverpool  faience 
tile  increased  enormously  when  they  could  be  more  cheaply 
printed  than  painted  by  hand.  To  this  period  belongs  the 
series  of  tiles  decorated  with  figures  of  popular  actors,  also 
tiles  with  current  illustrations  of  poems  and  fables. 

Similar  enamelled  wares  were  early  made  in  Bristol  before 
soft  paste  porcelain,  but  not  much  enamelled-ware  can  be  as- 
cribed to  these  potteries  after  the  latter  part  of  the  18th  Cen- 
tury. So  great  was  the  improvement  in  pottery  and  true 
porcelain  during  this  period  that  they  superseded  faience  and 
it  has  seldom  competed  with  later  English  porcelain,  although 
its  use  was  persisted  in  to  some  extent  after  the  introduction 
of  kaolin  and  bone  ash. 


“English  Delft”  or  faience  plate,  dated  1761. 


Salt  Glaze 


“The  most  essentially  English  of  all  the  pot- 
tery produced  in  England.”  — M.  L.  Solon. 


WO  hundred  years  ago  the  Staffordshire  potters  were 


making  a fine,  partially  fused  stone  ware.  For  more 
than  a century  previous  earthenware  with  a lead  glaze  had 
been  made  in  quantities.  The  new  finer  stoneware  was  fired 
to  a point  of  greater  fusibility  and,  when  the  heat  of  the  oven 
was  at  its  highest,  quantities  of  common  salt  were  thrown  into 
the  flues.  The  fumes  of  this  burning  salt  fixed  upon  the  ware, 
the  soda  being  decomposed  by  the  silica  of  the  paste.  By 
1750  there  were  about  sixty  kilns  making  salt-glazed  stoneware 
in  Burslem  alone.  Saturday  mornings  were  the  times  when 
the  workmen  added  the  salt.  It  is  said  the  air  was  so  filled 
with  the  dense,  black  smoke  resulting  that  people  bumped  into 
each  other  on  the  street  as  in  a London  fog. 

The  Staffordshire  clays  fired  with  salt  produced  a grayish 
salt  glaze,  and  when  clay  from  Derbyshire  was  used  it  showed 
a slightly  greenish  caste  which  has  gone  by  the  name  of  Crouch 
ware.  When  the  fine,  white  clay  from  Devon  was  brought  up 
the  Severn  in  barges  and  then  brought  overland,  salt  glaze 
reached  its  greatest  perfection  in  material — a hard,  white  ware 
with  a dull  glaze  and  surface  like  an  orange  peel.  It  was  one 
step  in  advance,  thought  then  to  be  in  the  direction  of  the 
porcelain  of  the  Orient;  but  it  would  not  stand  boiling  water. 

Salt  glaze  was  produced  in  large  quantities  by  nearly  all 
English  potters.  Three  methods  were  used.  Pressing  or 
stamping  small  objects  between  two  metal  forms;  thrown  and 
turned  on  a wheel  like  earlier  stone  ware,  and  by  casting,  i.e.> 
filling  a porous  mould  (earlier  of  clay,  later  of  plaster  of  Paris) 
with  liquid  clay  in  the  form  of  slip,  and  when  the  part  nearest 
the  mould  partially  dried  to  the  desired  thickness,  pouring 
out  what  liquid  remained,  leaving  the  drying  clay  to  further 
harden  on  the  mould. 

Eighteen  kinds  of  salt  glaze  pottery  have  been  tabulated  as; 
follows  by  M.  Solon: 

1.  Ornaments  of  white  clay  stamped  with  seals. 

2 . Flowers  and  foliage  made  in  moulds  and  stuck  on  with  slip  „ 


3 

4 

5 

6 

7 

8 

9 

10 

11 

12 

13 

14 

15 

16 

17 

18 


Thin  pieces  made  in  metal  moulds. 

Engine  turned  pieces. 

Mixtures  of  colored  bodies  similar  to  agate  ware. 

Red  clay  coated  with  white  stoneware  scratched  like 
sgrafiato. 

Pieces  made  in  plaster  moulds — less  sharp  in  execution. 
Perforated  dishes  and  basket  ware. 

Pressed  tiles. 

Scratched  and  lines  filled  with  cobalt. 

Blue  stone  paste  applied  on  white  ground. 

Decorated  with  red  slip  and  manganese. 

Shavings  of  clay  strewn  on  surface  as  in  “Congleton” 
bears. 

Blue  salt  glaze — ground  colored  with  cobalt  under 
glaze. 

Tin  glaze  combined  with  salt  glaze. 

Enamelled  in  style  of  Worcester  and  Derby. 

Size  gilded. 

Printing  in  red  and  black. 


Salt  glaze  heart  shaped  teapot. 
“Salt  glaze  and  Whieldon — the  highest 
expression  of  a genuine  taste.” — Solon. 


Moulded  salt  glazed  teapot. 

Note  how  the  design  allows  the  pot  to  be  moulded 
in  several  pieces  and  put  together  in  panels. 


Whieldon 


“The  wares  he  must  have  loved  because 
he  made  them  so  perfectly.”—  Burton. 

/CERTAIN  agate,  tortoise  shell  and  other  English  wares 
have  come  to  bear  the  general  name  Whieldon.  This 
does  not  mean  that  they  were  actually  made  by  that  master 
potter,  Thomas  Whieldon,  at  his  works  at  Fenton,  but  in- 
cludes wares  of  the  same  style  and  period  made  by  Astbury, 
Bird  and  many  other  potters  in  Staffordshire. 

It  is  said  that  Thomas  Whieldon  excelled  all  the  other  potters 
in  fine  workmanship,  and  when  we  know  that  the  first  Josiah 
Spode  and  William  Greatback  were  apprenticed  to  him,  and 
Josiah  Wedgwood  his  junior  partner  for  three  years,  we  are 
inclined  to  ascribe  the  best  and  most  carefully  potted  pieces 
of  “Whieldon”  to  him  individually. 

“Salt  glaze”  stone  ware  and  “cream  ware”  pottery  are  the 
two  great  productions  of  the  early  Staffordshire  potters. 

In  composition  they  are  alike  or  very  similar,  the  difference 
in  the  finished  product  being  in  methods  of  glazing  and  dif- 
ference of  temperature  in  firing. 

The  development  of  agate  ware,  tortoise-shell  ware,  black 
glazed  ware,  cauliflower,  pineapple  and  melon  wares,  all  com- 
monly called  Whieldon,  traces  back  to  the  early  slip  decorated 
pottery  of  a century  earlier.  A marbled  ware  was  then  made 
by  “combing”  different  colored  clays  together. 

Whieldon  agate  ware  was  made  from  numerous  layers  of 
different  colored  clays,  superimposed,  and  then  pounded  or 
pressed  together,  after  which  the  bat  was  sliced  and  the  ware 
was  usually  moulded,  although  sometimes  thrown  on  the 
potter’s  wheel. 

Tortoise-shell  ware  was  made  of  cream  ware  pottery  that 
was  mottled  by  an  application  of  mineral  oxides,  which,  com- 
bining with  the  lead  in  the  glaze,  modify  the  color  of  the  clay 
underneath.  Dark  madder-brown  was  made  with  manganese, 
green  by  copper  oxide,  and  blue  by  the  oxide  of  cobalt  in  the 
form  of  smalts.  Raised  ornament  on  these  pieces  was  first 
moulded  separately  and  attached  to  the  ware  with  slip.  Mot- 
tled or  tortoise-shell  plates  were  turned  out  in  great  quantities. 


some  showing  only  the  manganese  brown,  others  with  splotches 
of  green,  yellow  and  blue,  and  still  others  where  these  mineral 
oxides  are  covered  with  a gray  glaze.  Whieldon  supplied  great 
quantities  of  agate  and  tortoise-shell  knife  handles  to  the 
Sheffield  cutlers  and  the  metal  mounters  of  Birmingham. 

Highly  glazed  black  ware  was  made  by  a mixture  of  a larger 
amount  of  manganese  and  some  cobalt,  under  a lead  glaze; 
for  the  quality  of  which  Whieldon  was  famous.  A factory  at 
Jackfield  turned  out  great  quantities  of  black  ware.  English 
people  have  always  used  and  prized  black  pottery,  whether  the 
highly  glazed  pottery  of  Whieldon  or  the  more  famous  black 
basaltes  of  Josiah  W7edgwood. 

The  cauliflower,  pineapple  and  melon  teapots,  caddies, 
bowls  and  jugs,  are  believed  to  have  been  first  made  at  Whiel- 
don’s  pot  works  while  Wedgwood  was  a junior  partner.  They 
may  have  been  suggested  by  the  fruit  forms  then  being  experi- 
mented with  by  porcelain  makers  further  south.  The  con- 
ventionalization of  these  fruits  is  well  done  and  not  offensive 
as  a literal  and  careful  reproduction  would  be,  and,  as  a rule, 
they  are  so  carefully  and  delicately  made  that  they  have  passed 
into  the  class  of  which  it  is  said,  “A  thing  of  beauty  is  a joy 
forever.”  Technically,  the  yellow  and  bright  green  of  these 
wares  mark  the  beginning  of  mixing  the  finely  ground  mineral 
oxides  with  flint  and  calcined  lead  ore,  which  produced  a type 
of  colored  glazing  still  in  use,  and  which  was  perfected  by 
the  great  Wedgwood. 


A Whieldon  pineapple  jug  of  cream  pottery 
and  brilliant  green  and  yellow  glaze. 


A mottled  plate  in  relief  with  perforated  edge.  This  piece 
shows  not  only  fine  and  careful  potting,  but  is  an  excellent 
example  of  the  brilliant  green  and  yellow  mineral  glazes. 


Whieldon  jug  marked  in  relief, 
“Success  to  Lord  Rodney.” 


Mottled  covered  bowl  with  figures 
in  relief  and  a gray  glaze.  In  deli- 
cacy this  pottery  suggests  and  rivals 
Chinese  porcelain  rice  bowls. 


Tortoise-shell  teapot  with  moulded  decoration  in  relief  and 
called  Whieldon  Ware.  From  the  fact  that  Daniel  Bird 
made  this  kind  of  ware  it  has  been  suggested  that  his  mark 
might  have  been  the  bird  on  the  lid. 


A cauliflower  teapot. 

These  were  never  large.  The  top  part  shows  the  cream 
ware  pottery  that  was  destined  to  become  one  of  the  most 
important  Staffordshire  products;  and  the  lower  leaves 
show  the  brilliant  green  glaze,  the  discovery  of  which  is 
ascribed  to  Josiah  Wedgwood. 


A moulded  Whieldon  teacady. 

The  design  carefully  incorporates  the  lines  where 
two  or  more  moulds  come  together.  It  is  colored 
only  by  manganese,  being  a rich  brown  suggesting  the 
shell  of  a tortoise. 

“They  all  represent  the  perfection  of  the  original 
processes  of  the  rude  peasant  potter.” — Burton. 


Cream  Ware 


Leeds 


/ I VHE  pottery  in  Leeds  was  carried  on  from  1760  for  a 
A hundred  and  seven  years,  but  it  is  only  the  fifty  years 
following  1780  that  the  wares  of  especial  interest  to  collectors 
were  made.  The  product  of  those  years  is  a fine,  even  deep 
cream  color  pottery  from  Dorsetshire  clays.  Many  beautiful 
fluted  forms  were  made,  and  probably  more  cream  ware  was 
made  with  pierced  or  “punched”  designs  at  Leeds  than  at  all 
the  other  cream  ware  pot  works  combined.  It  is  the  fine, 
sharp  punching  and  yellowish  cream  of  the  different  clay  that 
often  distinguishes  a true  Leeds  piece.  The  thin,  delicate 
handles,  often  twisted  and  attached  to  the  body  with  a leaf 
design,  are  among  the  most  beautiful  of  pottery  handles.  It 
is  said  this  same  style  of  handle  was  used  in  other  potteries, 
but  more  have  survived  of  Leeds  manufacture  than  of  others. 

Slightly  marbled  wares  were  made  at  Leeds,  some  with  in- 
cised lines  covered  with  a thin  green  glaze;  and  an  agate  or 
variegated  ware  like  the  edges  of  a marbled  book.  These  are 
usually  of  creams,  reds  and  browns. 


Cream  ware  plate  showing  punched  design  in  border  and 
example  of  Sadler  & Green  overglaze  printing  in  black. 


V;^lllfakifV^  x - ,;  ,/"  * ' 



An  early  example  of  painting  over  the  glaze  of  cream  wire. 


Liverpool 


/GRADUALLY  the  Liverpool  potters  who  made  tin- 
enamelled  wares  gave  these  up  and  in  their  places  cream 
ware  of  a type  closely  resembling  the  Staffordshire  ware  was 
made.  Black,  gray  and  red  fine  stone  wares  and  highly  glazed 
green  ware  were  made  at  Liverpool. 

As  the  inventors  of  printing  on  china  lived  in  Liverpool, 
much  of  the  cream  ware  was  printed,  but  American  collectors 
are  more  interested  in  the  jugs  made  in  Liverpool  than  in  any 
other  ware. 

In  the  1 8th  Century  Liverpool  was  already  growing  towards 
its  important  place  as  a seaport.  Naturally,  much  of  its  pot- 
tery was  sent  to  the  colonies,  and  especially  large  jugs — 
usually  barrel  shaped  and  ranging  in  size  from  two  to  twenty- 
two  or  more  inches  in  height.  These  are  mostly  printed  in 
black  and  colors — the  one  illustrated  on  second  page  following 
has  a map  of  the  eastern  coast  of  the  United  States,  showing 
the  thirteen  original  colonies,  with  the  American  flag,  Washing- 
ton and  an  inscription.  Often  they  are  decorated  with  a picture 
of  full  rigged  sailing  vessels,  and  probably  very  few  ships 
sailed  from  the  port  of  the  Mersey  without  carrying  its 
Liverpool  Jug. 

In  the  north  country,  on  Swinton  Moor,  on  land  belonging 
to  the  Marquis  of  Rockingham,  was  a stone  ware  pot  works 
that  made  a brown  glaze  of  a very  pure  form  of  manganese 
that  has  since  gone  by  the  name  of  Rockingham.  Usually 
these  pieces  are  darker  at  the  bottom  than  at  the  top  and  are 
often  examples  of  splendid  glaze.  The  type,  sometimes  called 
“brown  china”  or  “brown  stone-ware”  is  often  seen  in  “Re- 
becca at  the  Well”  teapots  and  “Hound  Handle”  jugs.  This 
factory  at  Swinton  was  famous  for  the  ingenious  brown  tea- 
pots called  Cadogans,  which  were  made  for  the  china  dealer, 
Mortlake  of  London,  and  are  sometimes  marked  Mortlake. 
They  were  to  be  filled  from  the  bottom  opening  which  ex- 
tended as  a tube  to  near  the  top  of  the  pot,  so  that  when 
righted  the  tea  was  kept  in  without  corking  the  opening,  as 
in  some  modern  salt  cellars  filled  from  the  bottom. 


At  Sunderland,  on  the  Ware  River,  large  quantities  of  mot- 
tled rose  lustre  ware  was  made.  Much  of  it  is  only  smeared 
on  under  black  printing,  but  one  occasionally  finds  a piece 
of  fine  lustred  ware  from  these  works.  The  Iron  Bridge  over 
the  Ware  are  commemorated  on  many  pieces  as  illustrated 
below. 


Pink  lustre  jug  showing  the  bridge  over  the  Ware  printed  in  colors. 


Liverpool  cream  ware  jug. 


plK 


Lustres 


Lustred  jugs  in  resist.  The  third  has  moulded  white  figures  in  relief. 


Teaset,  with  bands  of  rose  lustre,  in  which  the  design  of  grapes 
is  resisted — i.  e.,  allows  the  body  of  ware  to  form  the  design. 


Copper  lustre  jug  with  band  of  yellow. 

Medallion  is  printed  in  black  showing  “Surrender  of  Cornwallis.’’ 
Made  in  England. 


Resist  lustred  jug  with  canary-colored  ground. 


Resist  lustred  pottery  punch  bowl  with  birds  painted  in  colors. 


Cream  ware  covered  with  a very  shiny  black  lead  glaze,  with 
moulded  figures  in  relief.  Still  shows  traces  of  water  gilding. 


W edgwood 


“England  has  long  taken  a lead 
among  the  nations  of  Europe  for 
the  cheapness  of  her  manufac- 
tures. Not  so  for  their  beauty. 
And  if  the  day  shall  ever  come 
when  she  shall  be  as  eminent  in 
taste  as  she  is  now  in  economy  of 
production,  my  belief  is  that  the 
result  will  probably  be  due  to 
no  other  single  man  in  so  great 
a degree  as  to  Wedgwood.  ” 

— Rt.  Hon.  IV.  E.  Gladstone. 


Small  basaltes  jug  formerly  owned 
and  used  by  Josiah  Wedgwood. 


Josiah  Wedgwood’s  Pottery 


JOSIAH  WEDGWOOD  was  a seventh  son,  born  in  Burslem 
in  1730  to  a family  who  even  then  had  long  been  identi- 
fied with  Staffordshire  potters.  It  was  he  who  built  the  founda- 
tion, more  than  any  other  Wedgwood,  for  the  great  pottery 
works  still  carried  on  by  the  family.  He  was  not  a chemist, 
but  a tireless  experimenter,  who  kept  careful  records  of  all 
his  experiments;  which  records  probably  stood  him  in  better 
stead  than  such  knowledge  of  chemistry  as  was  available  in 
the  1 8th  century.  Pre-eminently  a shrewd  business  man,  he 
profited  not  only  by  his  own  unceasing  experiments,  but  by 
those  which  had  been  carried  on  by  the  English  potters  for 
a century,  in  an  effort  to  produce  true  porcelain.  This  goal 
Josiah  Wedgwood  never  reached — unless  his  pearl  ware  be  so 
considered — but  he  raised  pottery  to  its  highest  point  in 
Europe.  As  an  aftermath  of  small-pox  in  his  youth,  he  suf- 
fered from  an  infected  knee  for  years,  finally  having  his  leg 
amputated  when  he  was  thirty-four  years  old.  While  ill  in 
Liverpool  he  met  Thomas  Bentley  and  for  eighteen  years  a 
close  friendship  and  partnership  was  kept  up.  Probably 
Wedgwood’s  love  of  classical  designs,  as  evinced  by  his  Jasper 


wares,  was  first  awakened  by  association  with  Bentley,  who 
had  some  classical  knowledge. 

After  his  partnership  with  Thomas  Whieldon  which  termi- 
nated in  1758  and  during  which  time  Wedgwood  is  said  to 
have  invented  his  metallic  green  glaze,  he  opened  two  pot- 
works  in  Burslem  and  later  branched  out  to  the  larger  works 
at  Etruria,  two  miles  away.  Although  fashions  come  and  go 
in  pottery  as  in  most  other  things,  the  Wedgwood  potteries 
have  always  continued  to  make  green  glazed  ware — first  made 
by  the  great  Josiah. 

To  the  early  period  when  he  was  in  business  for  himself 
may  be  traced  the  further  development  and  perfection  of 
cream  ware — to  this  day  one  of  the  staple  products  of  the 
Wedgwood  works.  Wedgwood  became  court  potter  and  to  a 
set  of  cream  ware  made  for  Queen  Charlotte  is  due  the  name 
“Queen’s  Ware”,  often  used  instead  of  cream  ware.  Much  of 
the  glazed  pottery  of  this  period  was  sent  to  Liverpool  for 
decoration,  where  Sadler  and  Green  had  invented  a method 
of  transferring  print  onto  the  glaze.  Later  both  printing  and 
painting  the  decoration  on  glaze  was  done  by  a branch 
Wedgwood  works  in  Chelsea  and  in  Soho,  London. 

The  Empress  Catharine  of  Russia,  through  the  English 
Ambassador,  commissioned  Wedgwood  to  make  a cream  ware 
set  for  her  use,  with  pictures  of  English  castles,  parks  and  public 
buildings.  This  was  a work  of  over  two  years  and  required 
a large  force  of  artists  and  skillful  workmen  as  each  piece  had 
a different  view.  The  border  was  a design  of  lavender  and 
green  and  each  piece  was  marked  with  a green  frog.  It  was 
exhibited  in  London  before  packing,  and  the  952  pieces  were 
sent  to  the  Russian  Empress,  who  paid  Wedgwood  three 
thousand  pounds  for  it.  One  cup  and  saucer  is  now  preserved 
in  the  Mayer  collection  in  Liverpool. 

While  developing  cream  ware  to  great  perfection — especially 
in  some  of  the  border  designs — it  reached  a very  high  point 
artistically  in  English  table  pottery,  Wedgwood  continued 
to  make  agate  wares  and  tortoise-shell  wares  of  great  beauty 
and  fine  workmanship.  He  was  a master  craftsman  himself 
—born  in  a period  when  the  sons  and  family  and  employees 
of  a potter  helped  in  all  the  potting  processes  as  in  the  older 


days  of  handicraft.  His  manhood  and  later  years  were  spent 
when  the  factory  system  had  begun  to  take  the  place  of  mas- 
ters and  apprentices.  It  is  due  to  his  shrewd  business  ability 
and  methods  of  organization  as  much  as  to  his  ability  as  a 
potter  that  his  name  stands  pre-eminent  among  English  potters. 

Wedgwood  made  fine  red  stone  ware,  pots  and  mugs  after 
the  methods  practised  by  Elers,  and  by  the  introduction  of 
manganese  and  cobalt  in  larger  quantities  to  this  hard  clay 
body,  produced  a fine  black  moulded  stone  ware  called  Egyp- 
tian black  or  basaltes.  This  was  of  such  a fine  quality  that 
it  was  easily  polished  on  a lapidary’s  wheel — and  often  forms 
the  pedestal  of  a vase  of  agate  ware.  For  many  years  the 
London  branch  did  encaustic  painting  in  brilliant  colors  on 
black  bodies. 

To  the  white  figures  on  colored  grounds  is  due  the  greatest 
fame  of  Josiah  Wedgwood.  In  the  countless  experiments  for 
a whiter,  harder  body, Wedgwood  introduced  barium  sulphate, 
and  the  fine  stone  ware  thus  obtained  for  the  first  time  was 
named  by  him  Jaspar  ware.  The  prevailing  spell  of  the  classics 
following  the  excavations  at  Pompeii  seemed  to  fasten  upon 
him  at  this  time  and  except  for  the  portrait  medallions  all  the 
Jaspar  ware  is  strongly  marked  with  classical  feeling  and  lore. 

More  skillful  artists  and  sculptors  were  employed — notably 
Flaxman,  who  in  Italy  modelled  some  of  the  most  beautiful 
forms — and  the  exquisitely  moulded  white  Jaspar  figures,  that 
were  united  to  colored  Jaspar  bodies  before  dry,  have  a grace 
and  fineness  of  workmanship  surpassing  anything  ever  done 
previously  in  England.  Portrait  plaques  in  bas-relief  were 
produced  in  quantities  and,  while  a few  are  twelve  inches 
high,  they  are  generally  three  or  four  inches.  Small  articles 
like  beads,  earrings,  plaques  to  be  set  in  brooches,  or  metal 
boxes  testify  that  Josiah  Wedgwood  never  lost  connection 
with  the  metal  mounters  of  Birmingham  to  whom  he  had 
previously  sold  agate  wares. 

Large  vases  display  the  great  skill  of  this  master  potter 
and  the  one  often  called  the  Pegasus  vase,  which  Wedgwood 
presented  to  the  British  Museum,  was  evidently  intended  to 
represent  his  ambition  as  a potter. 

In  1784  the  famous  Barberini  vase  was  brought  to  England 


by  Sir  William  Hamilton.  It  was  almost  immediately  sold  to 
the  Duchess  of  Portland.  After  her  death  the  following  year, 
the  Duke  of  Portland  bid  it  in  at  the  sale  of  their  museum 
pieces,  and  commissioned  Josiah  Wedgwood  to  copy  it.  Here 
was  a work  demanding  the  utmost  skill  and  though  many 
copies  were  then  made  and  have  since  been  made  it  is  doubtful 
if  any  were  entirely  satisfactory  to  the  master  potter.  The 
original  vase,  discovered  in  1623  and  probably  made  in  the 
third  century,  was  of  blue-black  glass  and  the  figures  were  of 
an  opaque  white,  with  which  the  glass  was  covered  and  then 
the  figures  sculptured.  Wedgwood  copied  it  in  a blue-black 
basaltes  with  white  Jaspay  figures. 

After  1790  Wedgwood  invented  his  “pearl  stone  ware,”  and 
immense  quantities  of  this  in  printed  table  ware  were  sold  at 
home  and  in  the  colonies,  as  well  as  many  pieces  lustred  with 
platinum,  gold  and  copper. 

After  the  first  early  years,  Wedgwood’s  business  acumen  led 
him  to  mark  and  to  retain  records  of  the  marks  of  nearly  all 
his  pottery,  and  in  the  19th  century  the  marks  tell  almost  to 
a year  when  any  piece  was  made. 

Josiah  Wedgwood  died  in  1795  the  most  honored  potter  of 
his  day  and  left  one  of  the  greatest,  if  not  the  greatest,  name 
in  England’s  commercial  development. 

The  best  pottery  of  Josiah  Wedgwood  represents  one  of  the 
highest  terms  of  beauty  that  can  be  made  in  clay,  where  every 
mechanical  invention  is  invoked  and  every  detail  is  carried 
out  with  pains  and  precision  and  scientific  exactness;  and  it 
is  the  antithesis  of  the  pottery  of  Japan,  where  beauty  is 
achieved  as  a direct  result  of  the  artistic  sensibility  of  the 
potter,  and  machines,  precision  and  exact  repetition  are  never 
sought.  One  conforms  to  classical  convention,  the  other  ex- 
poses the  potter’s  soul. 


During  the  last  quarter  of  the  18th  century  the  Stafford- 
shire potteries  were  producing  immense  quantities  of  pottery, 
and  certain  staple  wares  like  agate,  tortoise-shell,  salt  glaze, 
cream  ware,  printed  both  under  and  over  glaze  lustres,  and 
figures  were  made  by  nearly  all  potters.  Very  few  pieces  were 


marked,  and  only  long  study  and  close  comparison  can  surely 
ascribe  them  to  individual  potters,  among  whom  the  most 
famous  were  the  Warburtons,  Hollins,  Turner,  Palmer,  Neale, 
Mayer,  Adams,  Enoch  and  Ralph  Wood,  and  Caldwell. 

The  Staffordshire  pottery  figures,  made  during  this  period, 
are  coarser  and  cruder  in  coloring  than  the  porcelain  figures 
then  made  at  Bow  and  Chelsea  and  Bristol,  from  whom  the 
inspiration  evidently  came. 


Mottled  Rose  lustre  plate  with  incised  mark  Wedgwood. 


Black  Basaltes  Teapot. 

The  first  teapot  made  by  Josiah  Wedgwood  is  preserved  at  Etruria. 


So  called  “Lowestoft” 


/^\N  the  eastern  coast  of  England  is  a town  called  Lowestoft. 
^'During  the  17th  and  18th  centuries  it  was  an  important 
port  for  the  reception  of  goods  brought  by  the  Dutch  East 
India  Company  to  Holland.  Its  distance  from  Rotterdam  is 
about  100  miles.  At  one  time  there  is  known  to  have  been  a 
large  warehouse  in  Lowestoft,  and  a considerable  stock  of 
Oriental  goods,  including  porcelains. 

During  the  past  few  decades  a good  deal  of  true  porcelain  of 
a coarse,  uneven  character,  has  been  called  “Lowestoft.” 
Most  of  the  specimens  that  still  go  by  that  name  are  a typical 
Chinese  porcelain  in  character,  and  contain  kaolin,  which  had 
not  been  discovered  in  England  when  many  of  these  pieces 
were  made  and  dated. 

The  composition,  color  and  surface  texture  are  all  Chinese. 
The  decorations  are  not.  Hence,  probably,  arose  the  mistake. 
The  ware  was  manufactured  in  China.  Whether  it  was 
decorated  there  on  English  orders,  with  designs  supplied  with 
the  orders,  probably  through  the  captains  of  the  sailing 
vessels,  which  seems  most  likely,  or  whether  it  was  brought  to 
England,  perhaps  to  this  warehouse  in  the  town  of  Lowestoft, 
and  there  decorated,  is  a mooted  question. 

At  any  rate  it  is  a true  porcelain  brought  to  England  from 
China,  when  only  glassy  porcelains  had  been  made  in  Europe, 
and  its  decoration — so  often  consisting  of  English  coat  of  arms 
that  it  is  frequently  called  “Armorial  porcelain” — is  decidedly 
English. 

During  the  18th  Century  there  was  a porcelain  factory  at 
Lowestoft.  A few  examples  of  the  ware  made  there  are 
preserved — fortunately.  Some  are  marked,  “From  Lowes- 
toft,” or  “A  Trifle  from  Lowestoft.”  Chemical  examinations 
of  these  prove  them  to  be  soft  paste  porcelain  similar  to  that 
made  at  Bow  and  Derby,  and  excavations  on  the  site  of  the 
one  known  pottery  in  Lowestoft,  have  revealed  only  frag- 
ments of  this  same  English  porcelain — with  no  trace  of  true 
felspathic  porcelain  ingredients. 


Chinese  porcelain  coffee  pot,  with  spread  eagle  and  thirteen  stars. 

Painted  one  order  of  the  Doane  family  of  Boston,  and  brought 
there  in  a sailing  ship,  about  1750. 


Porcelain 


T>ESIDES  the  division  of  clay  wares  into  potter)^  and 
porcelain,  we  find  the  latter  varies  so  much  with  time,  place 
and  materials  that  three  important  divisions  of  porcelain  are 
acceptable.  There  are  so  many  mixtures  and  combinations 
and  we  enter  so  constantly  the  lawless  field  of  art,  that  no 
hard  and  fast  rule  can  be  applied  to  every  piece. 

In  general,  the  first  division  of  porcelain  is  that  made  from 
clay  and  from  stone  rich  in  felspar;  and  to  this  class  belong 
Chinese  porcelains,  usually  fired  but  once,  with  the  glaze,  and 
the  more  modern  true  porcelains  of  England,  France  and 
Germany. 

The  second  are  the  glassy  porcelains  made  in  England, 
France,  Germany  and  Italy  during  the  18th  Century. 

The  third  are  the  bone  porcelains  made  in  England,  America, 
France,  Sweden,  Italy  and  Germany  in  the  19th  Century. 

In  tracing  the  development  of  English  pottery  and  porce- 
lain through  the  18th  Century  we  are  concerned  only  with  the 
glassy  porcelains,  but  here  it  may  be  well  to  add  a word  about 
all  three. 

The  Chinese  porcelains  are  rich  in  a felspathic  rock  which 
they  call  pe-tun-tse  and  a very  pure  kaolin.  The  glaze  is 
usually  made  of  a mixture  somewhat  like  the  body  and  the 
whole  is  fired  together  once,  at  a lower  temperature  than  that 
required  by  a more  refractory  mixture.  The  result  is  that  the 
glaze  fuses  into  the  body  irregularly,  by  tiny  microscopic 
rods,  so  that  the  light  is  reflected  and  refracted  deeper  than  in 
other  wares.  This  gives  a softness  and  bloom  not  found  in 
porcelain  made  in  other  ways. 

Glassy  porcelains,  among  which  are  included  18th  Century 
English  porcelains,  old  Sevres  and  Meissen  are  rich  in  China 
clay,  very  hard  and  refractory,  fired  into  a biscuit  and  then 
covered  with  a glaze,  often  of  the  nature  of  glass,  and  fired 
again.  This  makes  a hard,  white  shiny  ware,  but  the  light  in 
striking  it  stops  at  the  biscuit,  thus  not  giving  the  softness  as 
when  it  can  penetrate  more  deeply. 

The  bone  porcelains  of  the  19th  Century  are  made  of  about 


the  same  ingredients — kaolin,  felspar  and  quartz;  to  which  is 
added  powdered  calcined  bones.  This  porcelain  is  subjected 
to  two  or  three  or  more  firings,  and  results  in  a hard  resisting 
ware  of  great  durability. 

A “Parian”  body,  having  a larger  proportion  of  felspar  and 
fired  at  a lower  temperature  than  bone  porcelain,  was  invented 
by  Copeland  at  Stoke-on-Trent  in  1845  and  had  a great  vogue 
for  more  than  twenty  years.  It  took  its  name  from  the  fact 
that  in  the  biscuit  it  looked  like  marble.  The  Irish  porcelain, 
called  Belleek  has  a Parian  body  and  a lead  glaze  such  as  was 
used  by  the  early  English  potters  on  their  rough  earthenware. 


English  porcelain  figure  of  the  18th  Century,  made  at  Chelsea. 


Bow,  Chelsea,  Derby  and  Longton  Hall 

T7IVE  important  porcelain  factories  in  England  first  began 
A to  make  a soft  paste  porcelain  with  a frit  glaze  rich  in  lead, 
between  1745  and  1755.  It  is  probable  that  the  methods  of 
one  pot  works  was  carried  to  another  by  travelling  workmen, 
and  in  the  middle  of  the  18th  Century  we  find  the  potters 
working  at  Bow,  Chelsea,  Derby  and  Worcester  were  all 
making  an  artificial  porcelain. 

These  are  the  porcelains  of  England  eagerly  sought  by 
collectors,  and  though  bone-ash  was  introduced  at  both  the 
Bow  and  Chelsea  works,  these  wares  must  not  be  confounded 
with  the  bone  porcelain  made  in  the  19th  Century,  after 
fritted  glaze  was  abandoned  by  Josiah  Spode  at  Stoke. 

For  forty  years  following  1740  the  Chelsea  works  were  turning 
out  quantities  of  artificial  porcelain.  Its  products  may  be 
roughly  divided  into  three  periods,  the  first  when  the  paste 
was  soft  and  translucent  is  marked  by  a very  mellow  glaze  and 
is  usually  decorated  in  blue  under  the  glaze. 

The  second,  when  colored  enamels  were  used  is  marked  by  a 
more  opaque  texture,  by  extreme  weight  and  an  uneven 
surface. 

The  third  period  after  1749,  when  bone  ashes  were  first 
used,  was  more  like  our  modern  porcelains  and  was  the  time  of 
greatest  output.  Nearly  all  Chelsea  porcelain  is  marked 
with  an  anchor  in  various  shapes,  sizes  and  colors. 

After  1770  the  works  were  purchased  by  Duesbury,  principal 
owner  of  the  Derby  works  and,  after  operating  the  factory  in 
Chelsea  a few  years,  all  the  moulds  were  removed  to  Derby 
and  the  works  (Chelsea)  closed  in  1784. 

A very  great  variety  of  porcelain  was  made  at  Chelsea,  in- 
cluding all  the  useful  table  wares,  vases,  trinkets,  toys,  knife 
handles,  and  ornamental  figures.  The  small  statues  are  more 
eagerly  sought  now  and  higher  prices  paid  than  for  the  other 
productions . The  early  works  were  influenced  by  the  fewChinese 
wares  the  potters  had  seen,  and  later  by  the  realistic  table  ware 
made  at  Meissen,  and  still  later  by  the  rococo  decorations  then 
in  vogue  in  France,  with  white  panels  reserved  for  polychrome 
painting  heavily  framed  in  gold  on  rich  colored  grounds. 


With  the  removal  of  the  Chelsea  factory  to  Derby,  the  wares 
of  the  latter  were  not  affected.  There  is  a great  similarity 
between  the  products  of  the  two  works  as  also  of  the  Bow 
factory  which  was  also  purchased  by  Duesbury  and  removed  to 
Derby.  Duesbury  died  in  1786  and  was  succeeded  by  his  son. 
In  18 1 1 the  Derby  factory  was  sold  to  Robert  Bloor.  The 
excellence  of  design  and  workmanship  was  not  kept  up  and 
when  Bloor  went  crazy  the  factory  with  the  moulds  of  the  Bow, 
Chelsea  and  Derby  works  were  sold  to  Samuel  Boyle  of  Fenton 
and  shortly  afterwards  dispersed  to  various  Staffordshire 
potters.  These  details  are  mentioned  to  emphasize  the  fact 
that  the  early  factory  at  Derby  had  no  connection  with  the 
present  Royal  Crown  Derby  Porcelain  Company  which  was 
established  in  1888. 

The  most  distinctive  work  of  the  old  Derby  pottery  were  the 
biscuit  statuettes  first  made  in  the  time  of  Duesbury  from  a 
special  paste  which  he  used  only  for  them.  Very  skillful 
modellers  were  employed  for  the  early  ones,  and  the  grace  and 
elegance  of  these  figures  have  not  been  exceeded  in  English 
porcelain.  Choice  examples  are  to  be  seen  in  the  British 
Museum.  The  later  ones  deteriorated  in  workmanship  and 
material. 


As  early  as  1744  Helyn  and  Frye  applied  for  a patent  to 
make  porcelain,  claiming  that  the  secret  had  been  discovered 
from  a recipe  including  an  earthy  mixture  from  America, 
called  “unaker,”  made  by  the  Cherokee  Indians,  and  sold  in 
England.  This  “patent,”  as  we  know  now,  could  not  produce 
a true  porcelain.  The  ingredients  used  in  the  wares  made  at 
Bow  for  thirty  years  were  learned  from  potters  from  the 
continent,  whose  wares  it  closely  resembles. 

The  figures  made  at  Bow,  Chelsea  and  Derby  have  a delicacy 
and  charm  sometimes  suggesting  both  Sevres  and  Meissen, 
but  a simplicity  among  the  better  ones  enables  one  to  place 
them  definitely  among  English  works.  As  a rule  the  figures  of 
Chelsea  and  Derby  outrank  the  Bow  statuettes,  but  the 
useful  ware  made  at  Bow  is  among  the  most  delicate  porcelain 
produced  in  England  in  design  and  feeling.  Printing  never 
played  a part  at  these  three  factories. 


Worcester 


A choice  specimen  of  Worcester  embodies  the  collectivity 
of  the  character  of  English  manufacturing,  crystallized  as 
it  were  into  the  unit. — M.  L.  Solon. 

TTOUNDED  about  1750  and  still  making  porcelain,  the 
A Worcester  works,  have  seen  many  changes,  but  it  stands 
as  the  most  representative  of  the  most  English  of  English 
porcelains,  just  as  Wedgwood  embodied  the  best  of  English 
workmanship  in  pottery.  If  one  could  have  but  two  specimens 
of  English  clay  ware,  made  before  the  19th  Century,  it  would 
be  possible  to  choose  the  most  representative  in  porcelain  from 
the  Worcester  works  and  the  most  representative  in  pottery 
from  Wedgwood. 

In  the  middle  of  the  18th  Century  Dr.  Wall  and  an  apothe- 
cary’s assistant  named  Davies  started  the  Worcester  Works. 
Their  endeavor  was  to  learn  the  secret  of  the  Chinese  porcelain, 
the  same  as  all  the  potters  of  the  time.  It  should  be  said  that 
nowhere  else  in  England  was  the  Oriental  porcelain  more 
carefully  studied,  and  more  of  its  spirit  preserved  than  at 
Worcester.  The  underglaze  blues  of  the  early  days  approached 
the  Oriental  more  closely  than  any  other  produced  then,  ex- 
cept the  Delft,  which  was  of  an  entirely  different  substance 
and  has  only  a surface  resemblance. 

The  products  of  the  first  few  years  were  a hard,  durable 
porcelain,  better  able  to  withstand  a sudden  change  of  tempera- 
ture than  either  Bow  or  Chelsea  and  this  was  an  important 
feature  with  the  ever  increasing  drinking  of  tea. 

After  the  death  of  Dr.  Wall,  the  works  were  carried  on  by 
his  son  and  later  purchased  by  Thomas  Flight,  when  an  era  of 
great  commercial  activity  began.  King  George  III  and  Queen 
Charlotte  visited  the  pottery  in  1788  and  granted  them  the 
title  of  “Potters  to  the  King,”  and  the  works  has  since  been 
known  as  the  Royal  Worcester  Porcelain  Manufactory. 

A partner  was  taken  in  and  for  a time  the  wares  are  marked 
“Flight  and  Barr.”  Later  they  were  amalgamated  with 
Chamberlain  who  conducted  a small  opposition  works  and  the 
mark  remained  Chamberlain  & Co.  until  1852:  at  which  time 


A.  Kerr  and  R.  W.  Binns  took  office  as  art  directors.  The 
present  company  owes  much  to  Mr.  Binns. 

Printing  was  introduced  early  at  Worcester  by  workmen 
from  the  enamel  works  at  Battersea,  independently  of  the 
invention  in  Liverpool  by  Saddler  and  Green. 

In  its  long  career  and  many  changes  there  are  distinct 
periods,  but  the  use  of  underglaze  blue  and  of  Oriental  designs 
have  been  most  persistant.  Some  periods  are  marked  by  a 
very  dark  blue  underglaze  ground  with  medallions  of  white 
which  are  decorated  in  colors  either  painted  or  printed.  Many 
and  varied  were  its  patterns  of  tableware,  and  they  never  made 
the  quantities  of  ornamental  figures  and  vases  turned  out  by 
the  other  porcelain  manufacturers.  The  Worcester  works 
has  earned  its  place  in  English  porcelain  enjoyed  by  Sevres  in 
France,  and  Meissen  in  Germany,  by  a steady,  sane,  healthy 
growth  of  conservative  styles  and  excellent  workmanship. 


Worcester  dish  marked  Flight  & Barr. 


Caughley 


AT  Caughley  in  Shropshire  on  the  Severn  grew  up  a porcelain 
^ works  under  Thomas  Turner  that  then  differed  but  little 


from  Worcester  in  methods  or  designs  except  in  the  mark.  This 
was  a C often  so  made  as  to  resemble  the  crescent  mark  of 
Worcester.  The  works  were  torn  down  in  1814. 

While  Thomas  Minton,  afterwards  the  founder  of  the 
Minton  works  at  Stoke-on-Trent,  was  apprenticed  to  Turner 
at  Caughley,  he  engraved  the  famous  willow  pattern  from  a 
Chinese  plate.  It  was  first  applied  to  porcelain  and  later  to 
earthenware,  when  it  was  first  printed  in  blue  in  1780. 

Across  the  river  from  Caughley  at  Coalport,  John  Rose, 
formerly  manager  of  the  Jackfield  pottery,  founded  a works 
that  produced  porcelains  of  the  styles  and  in  imitation  of  all 
the  makers.  The  double  L mark  of  Sevres  and  Louis  Quatorze 
and  many  other  marks  were  here  pirated  to  enhance  the 
demand  and  reputation  of  the  potters.  The  forged  marks 
were  often  accompanied  by  a small  X. 


Plymouth  and  Bristol 

TN  1768  Thomas  Pitt  (Lord  Camelford)  financed  a pot  works 
at  Plymouth  for  one  William  Cookworthy.  Here,  remote  from 
other  porcelain  works,  was  first  introduced  kaolin  which  was  to 
do  away  with  soft  paste  porcelains  and  revolutionize  the  manu- 
facture of  these,  not  only  in  England  but  in  the  western  hemi- 
sphere. Two  years  later  the  works  removed  to  Bristol  under 
management  of  Richard  Champion. 

These  two  potteries  were  the  first  in  England  to  use  kaolin, 
which  had  been  discovered  in  the  Cornwall  Clays.  In  1775  the 
House  of  Commons  passed  a bill  limiting  the  use  of  kaolin  to 
certain  kinds  of  porcelain  in  certain  factories.  At  this  time  we 
hear  of  Josiah  Wedgwood  journeying  to  Bristol  to  oppose  the 
license  in  the  hands  of  Champion. 

Here  at  last,  first  at  Plymouth  and  then  at  Bristol,  was  a 
true  porcelain  made,  after  experiments  lasting  about  one 
hundred  years.  At  first  there  was  great  difficulty  in  finding 


a clay  that  would  make  saggars  that  would  withstand  the 
firing  of  this  new  material,  but  it  was  one  more  step  on  our 
way  to  the  knowledge  of  true  porcelain,  so  long  held  by  the 
Chinese. 

The  patent  of  the  Bristol  works  was  sold  to  the  New  Hall  Co. 
of  Staffordshire  in  1781  and  Richard  Champion  came  to  the 
United  States  and  settled  in  Camden,  South  Carolina. 

The  porcelain  of  Bristol,  for  the  eleven  years  during  which 
the  factory  was  operated,  is  marked  by  simplicity  and  delicacy 
of  design.  Frequently  there  are  festoons  and  bows  of  ribbon 
design  and  of  laurel  leaves  and  gilding.  The  usual  tablewares 
were  made  and  among  the  most  notable  examples  preserved 
are  from  the  service  made  for  Edmund  Burke,  in  1774. 

The  figures  made  in  Bristol  are  quite  similar  to  those  made  in 
Meissen.  On  account  of  the  difference  in  material  and  in 
glaze,  there  is  no  difficulty  in  distinguishing  these  figures  from 
those  made  at  Chelsea  and  Derby. 

The  very  distinctive  wares  made  at  Bristol  are  the  small  oval 
and  circular  medallions  of  carefully  modelled  flowers,  fired  only 
in  the  biscuit,  and  a few  with  flower  wreaths  enclosing  a coat  of 
arms  or  a portrait.  A Bristol  medallion  of  Benjamin  Franklin 
is  preserved  in  the  British  Museum. 

Swansea  and  Nantgarw 

A LL  through  the  period  of  soft  paste  porcelain  in  England, 
^ ^ we  find  a wandering  figure  named  Billingsby.  He  was  a 
flower  painter  of  no  slight  ability,  but  was  evidently  fired  by 
a great  enthusiasm  and  lacking  in  practical  qualities.  Some- 
times bankrupt,  sometimes  in  miserable  health,  he  painted  or 
modelled  or  tried  to  manage  potteries  at  Derby,  Worcester, 
Nantgarw,  Swansea  and  finally  at  Coalport. 

While  Billingsby  was  making  a very  fine  paste  for  his  porce- 
lain at  Nantgarw,  Mr.  Dilwyn  of  Swansea,  the  owner  of  the 
Cambrian  Pottery,  recognized  the  value  of  the  paste  if  it 
could  be  made  to  overcome  the  excessive  loss  in  firing,  when 
most  of  the  pieces  lost  their  shape. 

With  the  co-operation  of  Dilwyn  the  Billingsby  works  at 


Nantgarw  were  removed  to  Swansea  in  1814  and  for  a few 
years  an  artificial  porcelain  was  made,  usually  tableware 
decorated  with  flowers  in  enamel  colors,  specimens  of  which  are 
now  very  few. 

The  opening  of  the  19th  Century  is  marked  with  the  mastery 
of  the  technical  difficulties  of  true  porcelain,  and  most  of  the 
factories  removed  to  Staffordshire.  Here  the  potters  of  Spode, 
Davenport,  Ridgway  and  Minton  developed  the  bone  porce- 
lains we  know  today.  Great  quantities  of  tableware  with  very 
highly  colored  painted  designs  were  turned  out  at  the  Spode 
factory,  while  the  Ridgways  and  Davenports  seem  to  have  done 
a very  large  export  business  in  printed  ware.  During  the  early 
19th  Century  a little  porcelain  was  turned  out  at  Etruria  but 
the  bulk  of  the  Wedgwood  products  were  pottery. 


Highlands  at  West  Point,  Hudson  River, 
by  Enoch  Wood. 


Dark  Blue 

Underglaze 

Printing 


Made  in  Staffordshire  from 
sketches  made  in  America 
— and  sold  to  the  Colonists 
in  great  quantities  before 
the  establishment  of 
potteries  here. 


/^NNE  of  the  interesting  phases  of  the  Staffordshire  potteries 
V'^is  the  manufacture  there  of  table  ware  designed  especially 
for  the  American  Colonies.  While  the  independent  and 
united  states  were  struggling  with  their  new  problem  of 
Government,  in  an  undeveloped  land,  much  or  most  of  the 
manufactured  articles  were  brought  from  the  mother  country. 
No  potteries  existed  in  America  at  all  capable  of  supplying  the 
needs  of  the  people,  until  after  about  1850. 

Amidst  the  rather  expensive  porcelain  brought  here  from 
China  in  sailing  vessels,  the  demand  for  English  pottery  grew. 
The  Liverpool  makers,  already  at  a seaport,  with  no  expensive 
journey  to  carry  the  wares  to  the  ship,  supplied  the  American 
demands  with  cream  ware  printed  in  black,  brown,  red  and 
green  designs  for  the  twenty-five  years  from  1790  to  1815. 
Soon  after  the  war  of  1812  the  black  printed  wares  and  lustred 
wares  of  Staffordshire  began  to  take  their  place  and  dark  blue 
printed  ware  was  furnished  in  great  quantities  until  1830. 
The  decade  between  1830  and  1840  sees  a change  in  the  colors 
and  printing  and  in  the  texture  of  the  ware.  All  sorts  of 
cheap  printed  wares  were  sold  here  until  the  introduction  of 
bone  porcelain  and  the  establishment  of  potteries  here  met  a 
new  and  growing  demand. 

The  dark  blue  plates  of  the  early  Staffordshire  potters  form 
a unique  place  in  the  history  of  English  pottery.  In  the  first 


place  the  cobalt  with  which  this  stoneware  was  decorated  was 
both  cheap  and  attractive,  and  the  method  of  printing  under 
the  glaze,  and  the  natural  flow  of  the  blue,  concealed  many 
defects  of  the  ware.  The  potters  appealed  very  directly  to  the 
patriotism  of  the  young  nation  when  prints  were  made  from 
sketches  brought  from  the  states,  of  the  important  public 
buildings  of  the  new  world.  Travelling  was  not  easy  in  those 
days  and  there  was  a deeper  feeling  about  having  a picture  of 
the  City  Hall,  New  York,  on  a plate,  if  you  lived  in  the  woods 
of  Vermont,  than  that  which  prompts  a travelling  son  in 
New  York  today,  to  send  a souvenir  postcard  of  the  tallest 
building  there  to  his  home  folks  on  the  farm. 

Potters  claim  that  the  dark  blue  of  that  period  is  a lost  art: 
even  if  this  is  an  open  question,  the  fact  remains  that  no  such 
blue  is  produced  today.  Its  quality  may  be  enhanced  with 
age,  or  it  may  have  been  a very  unusual  form  of  cobalt,  but  it 
is  a distinctive  product  of  a bygone  day. 

When  firing,  plates  were  placed  in  saggars  the  top  side  down 
resting  on  the  “middle  foot”  of  the  cockspur  whose  three  other 
points  touched  the  underside  of  the  plate  below,  thus  making 
three  small  holes  in  the  bottom  of  the  plate,  and  one  small  hole 
in  the  middle  of  the  face  of  the  plate.  These  marks  are  to 
be  found  on  all  the  plates  of  that  period. 

Many,  among  the  Staffordshire  potters,  printed  their  stone- 
wares under  the  glaze  in  blue,  and  a number  adopted  a special 
border  design  that  helps  identification  if  the  mark  is  missing. 

Enoch  Wood,  one  of  the  early  potters,  whose  trade  with  the 
colonies  must  have  been  considerable,  used  a shell  border,  on 
much,  but  not  on  all  of  his  ware — James  Clews  used  a flower 
border  of  three  styles  besides  making  the  States  Plates: 
Ridgway,  a border  of  conventional  rose  design: — -Stubbs,  a 
border  of  apple  blossoms  and  eagles:  R.  Stevenson  and 
Williams,  a border  of  oak  leaves,  etc.,  etc.,  all  of  which  with 
the  names  and  descriptions  of  the  views  have  been  carefully 
arranged  by  the  late  Mr.  Barber  of  Philadelphia. 


Early  American  Potteries 


TN  Bergen  County,  New  Jersey,  in  1825,  was  incorporated  a 
A company  for  the  manufacture  of  pottery  now  known  as  the 
Jersey  City  Pottery.  It  continued  in  the  same  place  until 
1892  when  the  old  buildings  were  demolished,  most  of  the  old 
moulds  and  copper  plates  dumped  on  the  meadows,  and  thus 
passed  into  tradition  a works  where  many  potters  in  the 
United  States  had  their  first  training.  Very  few  of  the  early 
products  of  this  factory  remain.  Daniel  Greatback,  from  that 
Staffordshire  family  of  potters,  was  a modeller  there,  and 
among  the  moulds  preserved  and  the  rare  pieces  may  be 
mentioned  the  raised  ware,  probably  modelled  by  him, 
including  apostle  jugs,  with  figures  in  panels;  brownware  jugs 
with  hunting  figures  in  relief  at  the  bottom,  and  a handle  in  the 
shape  of  a hound,  and  a jug  with  a raised  tulip  design. 

A jug  was  made  at  this  pottery  during  the  heated  political 
campaign  of  1840,  with  a log  cabin  at  the  top,  and  a printed 
portrait  bust  of  Harrison  in  the  center  under  the  inscription 
“The  Ohio  Farmer.” 

After  1848  the  factory  was  operated  by  Rouse  and  Turner, 
both  Englishmen  from  Staffordshire.  They  made  quantities 
of  white  biscuit  ware,  and  ivory  white  ware  for  decorators  and 
cups  for  telegraph  purposes. 


Bennington 


A S early  as  1846  three  men  were  associated  in  a pot  works  at 
^ Bennington,  Vermont,  which  in  1849  became  known  as  the 
United  States  pottery.  The  principal  manager  of  the  works 
during  the  twelve  years  it  was  in  operation  was  C.  W.  Fenton. 
Associated  with  him  as  modeller  was  Greatback,  who  had  come 
from  Jersey  City. 

The  United  States  pottery  made  four  distinct  styles  of  ware, 
“Parian,”  “Rockingham,”  scrodled  or  lava-ware  and  white 
granite  ware  decorated  with  gold.  The  works  are  best  known 
by  the  brown  flint  ware  and  the  white  Parian. 

Many  pieces  of  Parian  have  a pitted  ground  of  varying 
shades  of  blue,  with  white  figures  in  relief,  and  some  are  all 
white  and  usually  glazed  on  the  inside.  This  factory  was  the 
first  to  make  Parian  ware  in  the  United  States  at  a time  when 
it  was  but  a recent  invention  in  England. 

The  brown  flint  ware  was  a heavy,  hard  composition  rich  in 
felspar  and  flint  and  the  kaolin  from  South  Carolina,  and  it  has 
a metallic  glaze  produced  by  oxide  of  manganese.  The  heat 
held  the  fumes  in  suspension  and  caused  the  various  streakings 
with  which  we  are  familiar — for  no  enamel  color  would  survive 
the  intense  heat  at  which  it  was  necessary  to  fire  this  ware. 

A great  variety  of  useful  and  ornamental  articles  were  made 
at  Bennington  and  many  people  now  living  can  remember 
when  these  were  carried  about  the  country  on  the  backs  of 
peddlers. 

At  the  New  York  Exhibition  of  1853  a large  variety  of  wares 
were  exhibited,  chief  among  them  by  its  size,  was  a monument 
ten  feet  in  height.  Its  base  was  made  of  the  so  called  lava- 
ware — different  layers  of  colored  clay  worked  into  agate — and 
above  was  the  brown  flint  ware  surmounted  by  a Parian  bust 
of  Mr.  Fenton  enclosed  in  columns,  and  on  top  of  this  a parian 
figure  of  a child  receiving  a Bible  from  its  mother. 

It  is  interesting  to  note  as  we  observe  the  newer  brown 
insulators  on  our  telegraph  poles  today  that  in  1853  Horace 
Greeley  wrote  of  the  Bennington  ware  then  exhibited,  “This 
ware  has  been  employed  on  the  telegraphs  in  the  vicinity  of 


Boston.  Among  these  specimens  is  a patented  form,  which 
has  a shoulder  with  a re-entering  angle  of  forty-five  degrees: 
this  angle  causes  the  wind  and  rain  to  pass  downward,  and 
prevents  the  inside  of  the  insulator  from  being  wet.” 

Though  there  were  dozens  of  small  pot-works  in  various 
parts  of  the  country  prior  to  1850,  they  were  nearly  all  short 
lived.  Among  them  stand  out  most  clearly  the  slip-decorators 
among  the  Pennsylvania  Dutch,  the  American  Pottery  Co.  of 
Jersey  City  and  the  United  States  Pottery  Company  of 
Bennington. 

The  latter  half  of  the  19th  Century  is  marked  by  a similar 
commercial  development  as  has  taken  place  in  England;  and 
the  bone  porcelain  made  here  today  has  the  same  durable 
qualities  evidently  the  most  appreciated  in  our  unlovely  and 
commercial  civilization. 


Bennington  teapot  of  generous  proportions 
— one  of  the  earliest  American  teapots. 


Stevens  House  in  Hoboken,  New  Jersey,  by  Stubbs. 


ZNfumbered  fist  of  dPottery  and 
Porcelain  at  the  Hut , 1917 

1- Bellermine  Earthenware  Ale  Jug  of  16th  Century. 

2- Astbury  Jug,  brown,  glazed  with  cream  colored  raised 
arms  and  lions  rampant. 

3- Salt  Glaze  Plate,  12". 

4- Salt  Glaze  Square  Fruit  Dish. 

5- 6  Salt  Glaze  Plates,  Basket  Pattern. 

6- 2  Salt  Glaze  Perforated  Plates. 

7- Salt  Glaze  Plate,  9" 

8- Salt  Glaze  Basket  Plate,  perforated  edge. 

9- Salt  Glaze  Basket. 

10- Salt  Glaze  Gravy  Boat. 

11- Salt  Glaze  Salt  Cellar. 

12- Salt  Glaze  Teapot,  heart-shaped,  decorated  in  red  and 
green. 

13- Salt  Glaze  Teapot,  enamelled  in  colored  flowers. 

14- Salt  Glaze  Jug,  enamelled  in  colors. 

15- Salt  Glaze  Teapot,  raised  greenish  figures. 

16- Salt  Glaze  Teapot,  vine  in  raised  bluish  green  salt  glaze. 


17- Salt  Glaze  Jug,  blue  bands. 

18- White  Earthenware  Teapot,  sliding  cover. 

19- White  Earthenware  Jug,  blue  and  green  bands. 

20- Whieldon  Tortoise  Shell  Plate,  9". 

21- Whieldon  Tortoise  Shell  Plate,  9". 

22- Whieldon  Tortoise  Shell  Plate,  10". 

23- Whieldon  Tortoise  Shell  Plate,  7". 

24- Whieldon  Tortoise  Shell  Plate,  9". 

25- Whieldon  Tortoise  Shell  Plate,  9". 

26- 6  Whieldon  Tortoise  Shell  Plate,  9",  alike. 

27- Whieldon  Green  Glaze  Plate,  11",  perforated  edge. 

28- Whieldon  Tortoise  Shell  Plate,  11",  perforated  edge. 

29- Green  Glaze  Plate,  9". 

30- Green  Glaze  Plate,  8j£". 

31- Green  Glaze  Plate,  7". 

32- Green  Glaze  Jug,  hunting  scene  showing  traces  of  gilding. 

33- Green  Glaze  Jug,  with  incised  lines. 

34- Green  Glaze  Jug,  shape  of  house. 

35- Whieldon  Cauliflower  Teapot. 

36- Whieldon  Cauliflower  Teapot. 

37- Whieldon  Cauliflower  Jug. 

38- Whieldon  Cauliflower  Jug. 

39- Whieldon  Cauliflower  Jug. 

40- Whieldon  Cauliflower  Jug,  with  cover. 

41- Whieldon  Cauliflower  Tea  Caddy. 

42- Whieldon  Brown  Tortoise  Shell  Teapot  with  legs  and 
standard  with  legs. 

43- Whieldon  Brown  Tortoise  Shell  Teapot  with  legs,  raised 
decoration. 

44- Whieldon  Brown  Tortoise  Shell  Teapot  with  legs,  raised 
decoration. 

45- Whieldon  Brown  Tortoise  Shell  Teapot  without  legs, 
raised  grape  decoration. 

46- Whieldon  Hot  Water  Jug,  Brown  Tortoise  Shell,  with  legs. 

47- Whieldon  Brown  Tortoise  Shell  Bowl  with  raised  decora- 
tion, 6". 

48- Whieldon  Brown  Tortoise  Shell  Bowl,  plain  with  splotches 
of  yellow  and  green,  S/4"- 

49- Whieldon  Grayish  Tortoise  Shell  Teapot  without  legs, 
raised  decoration. 


50- Whieldon  Light  Brown  Tortoise  Shell  Teapot,  with 
leaves,  raised  decoration. 

51- Whieldon  Brown  and  Green  Tortoise  Shell  Teapot,  with- 
out legs,  raised  decoration. 

52- Light  Brown  and  Green  Whieldon  Cream  Jug,  with  legs, 
thin  fluted  edge. 

53- 1  Pair  Staffordshire  Figurines. 

54- Agate  Ware  Sugar  Bowl,  green  band. 

55- Brown  Agate  Ware  Covered  Bowl. 

56- Hexagonal  Green  and  Brown  Teapot,  dragon  handle, 
cauliflower  spout. 

57- Grayish  Brown  Agate  Ware  Teapot,  with  legs. 

58- Mottled  Gray  Teapot,  green  bands. 

59- Agate  Ware  Chocolate  Pot,  dog  on  cover. 

60- WhieldonTortoise  Shell  SquareTea  Cady  with  silver  cover. 

61- Round  Cream  Pottery  Basketwork  Tea  Cady,  green  and 
brown  raised  decorations. 

62- Square  Cream  Pottery  Tea  Cady,  brown  and  green 
raised  decorations. 

63- Cream  Pottery  Square  Tea  Cady,  raised  green  and  brown 
decorations  with  cover. 

64- Cream  Pottery  Basket  Teapot,  raised  green  and  brown 
decorations. 

65- Cream  Pottery  Basket  Teapot,  raised  green  and  brown 
decorations. 

66- Cream  Pottery  Basket  Teapot,  raised  green  and  brown 
decorations. 

67- Cream  Pottery  Hot  Water  Jug  with  raised  green  and 
brown  decorations  with  cover. 

68- Green  and  Brown  Sauce  Boat,  scaled  like  fish 

69- Green  and  Yellow  Sauce  Boat,  raised  decorations,  cream 
pottery. 

70- Brown  Agateware  Jug,  with  cover. 

71- Melon  Tea  Cady,  brown  and  green. 

72- Melon  Teapot,  cauliflower  handle,  raised  leaf  decoration 
near  handle. 

73- Cream  Pottery  Teapot,  green  and  brown  splotched, 
twisted  handle. 

74- Brown  Agate  Jug,  with  cover. 

75- Brownish  Agateware  Vase,  polished  basaltes  base  screw- 
ed on. 


76- Yellow  and  Green  Jug,  with  cover,  raised  corn  decoration 

77- Covered  Mottled  Bowl,  raised  decoration,  evidently 
made  after  seeing  a Chinese  rice  bowl 

78- Whieldon  Pottery  Jug,  with  inscription  “Success  to  Lord 
Rodney,”  from  Bemrose  Collection,  Derby,  England. 
Purchased  from  R.  Watson,  Montreal. 

79- Small  Cream  Ware  Teapot,  flower  on  cover,  twisted 
handle. 

80- Cream  Ware  Jug,  5",  twisted  handle,  flower  on  cover. 

81- Cream  Ware  Jug,  8",  twisted  handle,  flower  on  cover. 

82- Cream  Ware  Jug,  8",  twisted  handle,  flower  on  cover. 

83- Cream  Ware  Jug,  twisted  handle,  flower  on  cover. 

84- Cream  Ware  Teapot,  1 1 W ",  plain  handle,  flower  on  cover. 

85- Cream  Ware  Teapot,  decorated  in  colored  enamels 
(cover  broken). 

86-  Cream  Ware  Teapot,  twisted  handle. 

87-  Cream  Ware  Sauce  Boat,  shell  pattern. 

88- 4  Pieces,  Teapot,  Sugar,  Creamer  and  Bowl,  cream  ware 
pottery  twisted  handles,  mottled  red  painting,  medallions 
in  green. 

89- French  Agate  Ware  Bowl,  Cover  and  Stand,  agate 
glazed  pottery  made  at  Apt,  Avignon. 

90- Bowl,  printed  in  black,  with  portraits  of  Washington 
and  Franklin  outside,  Adams  inside. 

91- 4  Small  Cream  Ware  Cups  and  Saucers,  with  twisted 
handles. 

92-  Cream  Ware  Mustard  Pot,  with  cover. 

93-  Cream  Ware  Jug,  3L4  L shaped  like  Liverpool  jugs. 

94- Cream  Ware  Salt  Cellar. 

95-  Cream  Ware  Salt  Cellar. 

96-  Cream  Ware  Salt  Cellar. 

97- Cream  Ware  Salt  Cellar. 

98- Cream  Ware  Salt  Cellar. 

99- Cream  Ware  Salt  Cellar. 

100- White  Ware  Salt  Cellar. 

101- Cream  Ware  Pickle  Dish, 

102-  Cream  Ware  Pickle  Dish,  8",  No.  518,  raised  leaf  and 
currant  decoration. 

103- Cream  Ware  Pickle  Dish,  10",  shell  pattern,  very  light. 

104- 2  Cream  Ware  Flower  Pot  Holders,  punched  railing. 


105- Cream  Ware  Plate,  perforated,  10",  “Jumereld”. 

106- Cream  Ware  Plate,  perforated  design,  2 raised  heads,  pie 
crust  edge,  10". 

107- Cream  Ware  Plate,  9",  perforated  design  in  edge  and 
raised  festoons. 

108- Cream  Ware  Deep  Saucer,  7",  perforated. 

109- Cream  Ware  Saucer,  5",  perforated. 

1 10- 6  Cream  Ware  Plates,  8",  perforated  edge,  birds  printed 
in  black  in  center. 

1 1 1- 6  Cream  Ware  Plates,  9",  scalloped  edges  showing  traces 
of  gilding  birds  printed  in  black  in  center  and  6 bird 
medallions  on  rim. 

112- 6  Cream  Ware  Plates,  pie  crust  edge,  painted  deep 
maroon,  and  painted  maroon  flowers. 

113- Cream  Ware  Side  Dish  to  match  No.  112. 

1 1 4-  P erforated  Cream  Ware  Ink  Well,  5 " x 7",  square. 

115- Cream  Ware  Oblong  Cake  Box  with  cover,  painted  in 
colors. 

116- Oval  Cream  Ware  Dish,  cover  with  moulded  figure  of  cow. 

1 17- 2  Basket  Work  Perforated  Open  Dishes  with  trays  in 
cream  ware,  10". 

118- Basket  Cream  Ware  Tray,  10",  perforated  edge. 

119- Cream  Ware  Basket,  9". 

120- Cream  Ware  Platter,  perforated  edge. 

121- Cream  Ware  Platter,  perforated  edge  and  raised  festoons, 

nf^". 

122- Open  Work  Cream  Ware  Basket,  pottery,  twisted 
handles,  “Crawford” . 

123- Cream  Ware  Perforated  Open  Dish  and  Tray  painted  in 
red,  incised  Wedgwood. 

124- 2  Cream  Pottery  Plates,  raised  flower  design,  10". 

125- 2  Cream  Pottery  Plates,  raised  flower  design,  10". 

126- 6  Cream  Pottery  Plates,  10"  with  blue  corn  flour  design 

127- Cream  Ware  Open  Dish,  11". 

128- 13  Cream  Ware  Wedgwood  Plates,  raised  grape  design,  7". 

129- 10  Cream  Ware  Wedgwood  Plates,  raised  grape  design, 
10". 

130- 6  French  Stoneware  9"  Soup  Plates,  printed  in  black, 
different  historical  scenes,  Legros  D’Anizy. 

131- 6  French  Faience  9"  Plates,  printed  in  black,  classical 
scenes,  Legros  D’Anizy. 


132- 11  " Cream  Faience  Plates,  similar  to  No.  13 1. 

133- Cream  Stone  ware  Teapot,  glazed  with  2 glazed  brown 
medallions. 

134- Cream  Stoneware  Glazed  Sugar  Bowl  with  glazed  brown 
medallions. 

1 3 5-White  Stone  Ware  Jug. 

136- Pottery  Bowl  and  Cover,  painted  in  blue,  4F2 

137- Pottery  Bowl  and  Cover,  painted  in  blue,  4^". 

138- Cream  Leaf  Pickle  Dish,  green  edges,  5". 

139- 2  Rough  Brown  perforated  edge  pottery  plates, metallic 
glaze,  9". 

140- Brown  and  Green  Salt  Cellar. 

141- 4  Pieces,  Teapot,  Sugar,  Creamer  and  Bowl,  unglazed 
yellow  pottery,  white  moulded  thistle  decoration. 

142- Olive  Drab  Teapot  and  Creamer,  pottery  unglazed  with 
white  relief  design,  incised  Wedgwood. 

143- Strawberry  Dinner  Set,  cream  ware  pottery,  painted, 
lion  handles,  39-10",  10-10"  soup,  13-8",  12-6^",  plates 
1 -17",  platter,  2-19"  platter,  2-21"  platter. 

144- 2  13"  Vegetable  Dishes  with  covers  like  No.  143. 

145- Soup  Tureen,  with  platter  to  match. 

146- 2  Sauce  Boats  to  match. 

147- 2  Salts  to  match. 

148- 2  Mustard  Cups  with  covers  to  match. 

149- Strawberry  Cream  Ware  Tea  Set,  2 teapots,  1 sugar, 
1 creamer  and  1 bowl. 

150- 12  Cream  Ware  Strawberry  decoration  cups  and  saucers. 

151- 6  Octagonal  Cream  Ware  Soup  Plates,  flower  decoration, 
in  color,  greenish  raised  edge. 

152- Wedgwood  Black  Basaltes  Teapot. 

l53~Wedgwood  Black  Basaltes  Cream  Jug,  glazed  inside. 

154- Black  Basaltes  Sugar  Bowl,  swan  on  cover,  glazed  inside. 

155- Jackfield,  black  glazed  Jug,  4",  plain. 

156- Jackfield,  black  glazed  Jug,  7",  plain. 

157- Jackfield,  black  glazed  Jug,  5 with  cover  and  legs. 

158- Jackfield,  black  glazed  Teapot,  8",  with  legs. 

159- Jackfield,  black  glazed  square  Tea  Cady,  4^",  plain  with 
cover. 

160- Jackfield,  black  glazed  Jug,  5 ",  with  legs  and  cover,  gilded. 

161- Jackfield,  black  glazed  Jug,  5",  with  legs  gilded. 


i6iA-Jackfield  black  glazed  Jug,  6",  with  legs  gilded,  bird  on 
cover. 

162- Jackfield,  black  glazed  Bowl  with  raised  vine  decoration. 

163- Jackfield,  black  glazed  Cup  and  Saucer  with  raised  vine 
decoration. 

164- Liverpool  Cream  Ware  Jug,  8p2  ",  map  of  13  Colonies  one 
side;  Geo.  Washington,  Mason’s  device,  ship  and  Ameri- 
can flag  obverse  side. 

165- 2  3"  Cream  Ware  Flower  Pots,  green  incised  bands,  in- 
cised Spode  mark. 

166- Stone  Ware  Bowl,  10",  printed  in  black,  Washington, 
Franklin  and  Lafayette  outside,  “Shipwrights  Arms”  in- 
side. 

167- Low  Stoneware  Bowl,  plain  beaded  edge,  13". 

168- Chinese  Coffee  Pot,  9j^",  decorated  in  reddish  brown, 
spread  eagle,  12  stars,  initials  (J.J.P.);  twisted  handles. 

169- Chinese  Teapot,  to  match  above. 

170- Sugar  Bowl,  to  match  above. 

171- Tea  Cady,  to  match  above. 

172- Helmet  Pitcher,  to  match  above. 

173- 5  Low  Cups  without  handles,  to  match  above,  and 
Saucers. 

174- 5  Higher  Cups  and  Saucers  with  handles,  to  match  above. 

175- 2  Chinese  Saucers,  8",  decorated  in  blue  and  gold. 

1 76- 6  Chinese  Saucers,  6 ",  decorated  in  blue  and  gold  to  match . 

1 77- 5  Chinese  Saucers,  6j^"  plates,  to  match. 

178- 5-8"  deep  Chinese  plates  initials  J.R.G.,  blue  borders. 

179- Chinese  Vegetable  Dish  and  Cover,  11",  English  coat  of 
arms. 

180- Chinese  Vegetable  Dish  and  Cover,  11",  English  coat  of 
arms  and  initial  S. 

181- Chinese  Teapot,  Sugar  Bowl  and  Helmet  Pitcher,  decor- 
ated in  red. 

182- “Helmet  Pitcher”. 

183- “Helmet  Pitcher”. 

184- Chinese  Teapot,  red  medallions,  twisted  handles. 

185- Chinese  Bowl,  red  medallions  to  match. 

186- 4  Chinese  Saucers,  to  match. 

187- Jug,  4L2  ",  marked  by  former  possessor,  “Old  Lowestoft 
— Rare”. 

188- Chinese  Teapot,  with  brown  medallions,  6". 


189- Chinese  Coffee  Pot,  with  brown  medallions  to  match,  10". 

190- Coffee  Pot,  10",  black  decoration,  a queen  and  peacock 
each  side,  twisted  rope  handle. 

191- Chinese  Bordered  Plate,  overglaze,  10",  marked  BJCS 
in  center. 

192- Chinese  Bowl,  11",  with  2 medallions  of  mason’s  em- 
blems. 

193- Chinese  Bowl,  10",  ship  with  American  flag. 

194- Cream  Ware  Tea  Set,  2 tea  pots,  1 sugar,  1 jug. 

195- 9  Cups  and  Saucers  to  match  No.  194,  no  handles. 

196- 7  Octagonal  Plates,  polychrome  decoration  in  imitation 
Chinese,  marked  Spode,  8". 

197- 6  Chinese  Soup  Plates,  9",  polychrome  enamel  decoration. 

198- Small  Chinese  Tea  Pot,  vine  forming  standard. 

199- Chinese  Cup  without  handle,  black  design. 

200- Chinese  Cup  with  handle,  same  black  design.  Has  paper 
on  bottom,  “From  J.  A.  Vernoy  to  Wm.  Southwick,” 
the  latter  built  the  colonial  house  in  Napanock,  1830. 

201- Gold  Ban  Jug,  cream  ware  with  burnished  gold  spout,  10". 

202- Gold  Band  Tea  Set,  tea  pot,  sugar  bowl,  2 creamers  and 
bowl. 

203- 9  Gold  Band  12-sided  Cups  and  Saucers. 

204- 9  Gold  Band  7"  16-sided  Plates. 

205- 2  Cake  Plates  like  above. 

206-  Fruit  Dish,  cream  ware  with  gilt,  raised  vine  and  fruit  in 
colors.  Worcester. 

207- Square  Dish  to  match  No.  206. 

208- 10  Fruit  Plates  to  match  No.  206,  8". 

209- Sugar  Bowl  and  Jug  and  4 cups  and  saucers,  black  print- 
ing, silver  lustre  bands,  marked  Mettlacher  Hartsteingue. 

210- Bowl,  rose  printing  and  rose  lustre  bands,  7". 

211- Bowl,  7",  rose  printing  and  rose  lustre  bands. 

212- Cup  and  Saucer,  rose  printing  (house  unidentified)  wfith 
silver  lustre  bands. 

213- Tea  Pot  and  Jug,  rose  printing  and  rose  lustre  bands. 

214- 4  Cups  and  Saucers,  to  match  No.  213. 

215- Yellow  Ground  Pottery  Tea  Set  with  black  printing,  tea 
pot,  sugar  bowl,  cream  jug,  7"  bowl,  4 cups  and  saucers. 

216-  Silver  Lustre  Tea  Set,  tea  pot,  sugar,  cream  jug,  larger 
jug  and  5 cups  and  saucers  and  5"  bowl. 

217- Silver  Luster  Coffee  Pot,  12". 


218- Silver  Lustre  Tea  Pot,  5". 

219- Silver  Lustre  Tea  Pot,  6^2  ",  same  shape  as  No.  218. 

220- Silver  Lustre  Sugar  Bowl,  5",  same  shape  as  No.  218. 

221- Silver  Lustre  Cream  Jug,  4". 

222- Silver  Lustre  Bowl,  6". 

223- Silver  Lustre  Open  Salt  Cellar. 

224- Silver  Salt  Shaker. 

225- Silver  Lustre  Sugar  Bowl. 

226- Silver  Lustre  Tea  Pot. 

227- Silver  Lustre  Toby. 

228- Silver  Lustre  Sugar  Bowl. 

229- Silver  Lustre  Tea  Pot. 

230- Square  Stoneware  Dish,  painted  with  red  and  silver  lustre 
vine. 

23  i-Sunderland  Pink  Lustre  Mottled  Tea  Set,  tea  pot,  sugar 
bowl,  jug,  6}4,r  bowl,  10  7"  plates,  9 cups  and  saucers 
(23  pieces). 

232- 7  Painted  7"  Plates,  pink  lustre  band,  marked  Hollens 
& Harris. 

233- 10  Pink  Lustre  Painted  Cups  and  Saucers  with  handles. 

234- 5^2"  Pink  Lustre  Bowl  to  match  No.  233. 

235- Painted  Flower  Tea  Set  with  pink  lustre  bands,  15  pieces, 
tea  pot,  sugar  bowl,  cream  jug,  bowl  and  11  cups  and 
saucers. 

236- Tea  Set  with  transferred  polychrome  Scenes,  band  of 
resist  rose  lustre,  2 tea  pots,  sugar  bowl,  jug,  bowl,  12 
cups  and  saucers  with  handles. 

237- Resist  Rose  Lustre  Tea  Set,  grape  vine  pattern,  tea  pot, 
cream  jug,  sugar  bowl,  sauce  boat  and  platter,  12  cups 
and  saucers,  16  pieces. 

238- Pink  Lustre  Bowl,  6^2". 

239- Pink  Lustre  Tea  Pot,  10"  high. 

240- Pink  Lustre  Jug. 

241- Pink  Lustre  Boat  Shaped  Tea  Pot. 

242- Pink  Lustre  Boat  Shaped  Sugar  Bowl. 

243- Pink  Lustre  Plate,  raised  edge,  7L2  " . 

244- Pink  Lustre  Deep  Plate,  7L2  ". 

245- Pmk  Lustre  Cream  Jug. 

246- 5  Pink  Lustre  Cups  and  Saucers. 

247- 9  Saucers,  same. 


248- 8  Pink  Lustre  Plates,  7^". 

249- 9  Pink  Lustre  Plates,  6^2 

250- 10  Pink  Lustre  Plates,  8". 

251- 4  Pink  Lustre  Plates,  6". 

252- 5  Pink  Lustre  Plates,  7". 

253- 5  Pink  Lustre  Plates,  7". 

254- 3  Pink  Lustre  Cup  Plates,  painted  polychrome  centers. 

255- 2  Cup  Plates. 

256- Pink  Lustre  Creamer  and  8 cups  and  saucers  to  match. 

257- Pink  Lustre  Tea  Pot  and  2 cups  and  saucers  to  match. 

258- 4  Pink  Lustre  Cups  and  Saucers. 

259- Pink  Lustre  Sugar  Bowl. 

260- Pink  Lustre  Sugar  Bowl. 

261- 8"  Plate,  pink  lustre  bands  and  design  in  color. 

262- Pink  Lustre  Plate. 

263- Pink  Lustre  Plate. 

264- 2  Small  Pink  Lustre  Mugs  and  small  bowl,  3 pieces. 

265- Pink  Lustre  Jug. 

266- Pink  Lustre  Jug,  black  printing. 

267- Pink  Lustre  Bowl,  6". 

268- Pink  Lustre  Bowl,  6". 

269- Pink  Lustre  Bowl,  6". 

270- Sugar  Bowl,  pink  lustre  bands,  polychrome  bands  also. 

271- Sugar  Bowl  with  pink  lustre. 

272- 2  Pink  Lustre  Deep  Plates,  8". 

273- 2  Pink  Lustre  Cups  and  Saucers  and  2 6^2"  Plates  to 
match. 

274- Pink  Lustre  Bowl,  5L2 

275- 4  Pink  Lustre  8"  Plates. 

276- 5  Pink  Lustre  7"  Plates. 

277- 5  Pink  Lustre  Saucers,  same  as  No.  276. 

278- Pink  Lustre  Tea  Pot,  same  pattern  as  No.  276. 

279- 2  Pink  Lustre  Plates,  8". 

280- 6  Plates,  8"  rose  lustre  band  and  black  printed  scene  in 
center. 

281- 2  Plates,  6"  to  match  No.  280. 

282- 1  Cup  and  2 Saucers,  to  match  No.  280. 

283- 1  Cream  Jug,  black  printing,  rose  lustre  band. 

284- Cup  and  Saucer,  rose  printing,  rose  lustre  band. 


285- 1  Bowl,  5",  painted. 

286- 1  Cup  and  3 Saucers,  same  as  No.  285. 

287- 3  Cups  and  Saucers,  transfer  pink  printing. 

288- 1  Teapot,  pink  printing,  rose  lustre  bands. 

289- Pink  Lustred  Bowl,  painted,  11 

290- Resist  Rose  Lustre  Jug  with  blue  band. 

291- Resist  Pink  Lustre  Bowl,  yellow  flowers,  6}4'r . 

292- Tea  Set,  raised  white  decoration,  also  painted  in  colors 
and  pink  lustre,  tea  pot,  sugar  bowl,  creamer,  bowl, 
8"  cake  plate,  11  cups  and  saucers. 

293- Cream  Jug,  bowl,  2 cake  plates,  3 cups  and  saucers,  very 
similar  to  No.  292. 

294- Tea  Set,  black  edges,  brown  printing,  children,  tea  pot, 
sugar  bowl,  cream  jug,  12  cups  and  saucers,  8"  plate. 

295- Worcester  Tea  Set,  1 bowl,  1 square  plate,  1 round  plate, 
tea  pot,  sugar  bowl,  creamer,  9 coffee  cups  and  saucers, 
12  tea  cups  and  saucers. 

296- Worcester  Tea  Set,  sugar  bowl,  creamer,  bowl,  plate, 

8 cups  and  saucers. 

297- Worcester  Tea  Set,  tea  pot,  sugar  bowl,  creamer,  3 plates, 

9 cups  and  saucers,  tea,  8 coffee  cups  and  saucers. 

298- White  and  Gold  Tea  Set,  sugar,  cream  jug,  tea  pot,  bowl, 
square  plate  and  8 cups  and  saucers. 

299- 9  Cream  Ware  Pottery  Plates,  raised  conventional  rose 
in  center  with  traces  of  gilding. 

300- 4  Cream  Ware  Pottery  Plates. 

301- Blue  Willow  Porcelain  Tea  Set,  gold  grape  vine  pattern 
bands,  tea  pot,  sugar  bowl,  tray,  cream  jug,  bowl,  2 
plates,  6 tea  cups  and  saucers,  4 coffee  cups,  Caughley. 

302- Gilded  Tea  Pot,  sugar,  creamer  and  2 coffee  cups  and 
saucers. 

303- Transfer  Printed  Tea  Set,  imitation  Chinese,  2 tea  pots, 
1 sugar  bowl  and  tray,  cream  jug,  2 plates,  10  tea  cups 
and  12  saucers,  12  coffee  cups. 

304- Columbine  Sprig  Tea  Set,  tea  pot,  sugar  bowl,  creamer, 
8 cups,  13  saucers,  14  plates,  6j^",  2 cake  plates,  9". 

305- Cake  Plate  similar  from  Mrs.  Charles  Ogden. 

306- Crown  Derby  Plate,  8J^". 

307- Chinese  Tea  Cady. 

308- Mortlake  Cadogan  Teapot. 

309- Blue  Underglaze  and  Lustre  Bowl,  6". 


3 io-Worcester  Cup  and  Saucer,  no  gilt. 

31  i-Purplish  Ironstone  Tea  Set  with  flowers  and  birds, 
marked  Florida  E.  C.,  teapot,  sugar  bowl,  cream  jug, 
2 10"  plates,  6 7>^'/  plates,  6 5F2"  sauce  dishes,  6 cups 
and  saucers,  no  handles. 

312- Buff  Shaving  Mug,  relief  painted  in  colors  and  lustre. 

313- Tea  Set,  hexagonal  porcelain  relief  design,  also  transfer 
of  flowers  in  colors,  teapot,  sugar  bowl,  cream  jug,  bowl, 
12  cups  and  saucers,  29"  cake  plates,  12  7"  plates,  sauce 
dishes,  10  5",  11  cup  plates,  4". 

314- Tea  Set,  cream  porcelain,  raised  lavender  grape  vine 
pattern,  teapot,  sugar  bowl,  cream  jug,  17"  bowl,  1 1 cups 
and  saucers,  12  4"  cup  plates,  29"  cake  plates,  12  6jT  " 
plates,  17"  plate. 

315- Teapot,  same  design,  but  body  not  in  relief. 

316- 2  9"  Cake  Plates,  same  as  No.  314  but  showing  traces  of 
gilding. 

317- Tea  Set  with  raised  lavender  thistle  decorations,  teapot, 
2 sugar  bowls,  2 cream  jugs,  bowl,  4 cups  and  6 saucers, 
6 cup  plates,  1 cake  plate,  1 13^"  platter,  1 11"  platter, 
77"  plates,  66"  plates. 

3 18- Octagonal  Tea  Set,  raised  lavender  figures  with  lustre, 
teapot,  sugar,  cream  jug,  67"  plates,  1 saucer. 

3 19- Octagonal  Cream  Jug  similar  to  No.  318. 

320- Cup  Plate  similar  to  No.  314. 

321- Round  Tea  Set  white  relief,  also  grape  vine  lavender 
raised  figures  with  lustre,  sugar  bowl,  cream  jug,  2 cake 
plates,  6 cups  and  8 saucers,  67"  plates,  11  7"  plates 
slightly  different  in  shape. 

322- Sprig  Teapot. 

323- White  with  Green  Sprig  Tub  with  4 egg  cups. 

324- 3  Sprig  Cups  and  4 Saucers. 

325- 2  Odd  Saucers  and  2 Cups,  Plate  and  Cream  Jug. 

326- French  after  Dinner  Coffee,  2 cups,i  saucer, Mme.  E.Sarre. 

327- Sprig  Creamer  and  2 Cake  Plates. 

328- 2  6^2  " Sprig  Plates. 

329- White  Moulded  Porcelain  Teapot,  water  jug,  2 plates, 
2 cups  and  1 saucer,  painted  with  flowers,  Swansea  style. 

330- Old  Berlin  Plate,  perforated  edge. 

331- Raised  Flower  Plate. 

332- 8"  Painted  Bowl. 


Washington  and  Lafayette,  by  R.  Stevenson  & Williams. 


Mt.  Vernon,  Home  of  Washington,  by  J.  & W.  Ridgway,  of 
Hanley  & Shelton,  “Beauties  of  America  Series,”  about  1810. 


Park  Theatre,  New  York, 
by  R.  S.  & W.  of  Cobridge,  where  Jenny  Lind  sang. 


Arms  of  New  York  State,  by  T.  Mayer  of  Stoke. 


Baltimore  and  Ohio  Railroad,  by  Enoch  Wood. 
Shell  border,  made  at  Stoke-on-Trent. 


Catskill  Mountain  House,  by  Enoch  Wood  & Sons. 


Erie  Canal  at  Utica,  1824. 

Opened  by  Gov.  DeWitt  Clinton,  who  was  born  in  Napanoch, 
and  whose  mother,  Mary  DeWitt,  was  born  in  the  original  farm- 
house where  the  Yama  Farms  Inn  is  built  around  it. 


The  Dam  and  Water-works,  Philadelphia  (side  wheel  boat). 


Landing  of  the  Pilgrims,  by  Enoch  Wood. 


The  Richard  Jordan  Plate, 
by  Joseph  Heath  & Co.,  of  Tunstall,  1829. 


Welcome  Lafayette,  the  Nation’s  Guest. 
Probably  by  Davenport. 


View  of  Sandusky,  Ohio,  with  Steamer  Henry  Clay  in  the  foreground. 

Maker  unknown. 


Dr.  Syntax  Platter,  “A  Noble  Hunting  Party,” 
by  Clews,  whose  descendants  now  live  in  the  U.  S. 


Log  Cabin  by  Ridgway. 

Border  and  mark  “Columbian  Star,  October  28,  1840.” 
Engraved  by  Thomas  Hardley. 


333- Open  Work  Basket  with  Feet. 

334- Open  Work  Basket  with  Feet. 

333-Open  Work  Basket  with  Standard  screwed  in. 

336- Chinese  Nankeen  Hot  Water  Plate. 

337- 6  Fitzhue  Pattern  Nankeen  Cups,  twisted  handles. 

338- 6  Fitzhue  Pattern  Nankeen  Plates,  10". 

339- 2  Fitzhue  Pattern  Nankeen  Vegetable  Dishes  with  covers. 

340- Fitzhue  Pattern  Nankeen  Platter. 

341- 2  Fitzhue  Pattern  Nankeen  Sauce  Boats. 

342- 9  Odd  9"  Sprig  Plates. 

343- 12  Sprig  Cups  and  Saucers  and  Cream  Jug  to  match. 

344- 2  Cups,  1 Saucer,  1 8"  Plate,  2 Sauce  Dishes,  brown 
transfer,  marked  Ironstone  China,  J.  Wedgwood,  Tyrol. 

345- 9  Cornflower  Sprig  Plates,  7^". 

346- 2-6"  Plates,  1 Cup  and  2 Saucers,  same  pattern,  No.  245 

347- 10  Pottery  Plates,  9^  " gold  band,  flowers  painted  in  color 
by  hand. 

348- Pink  Printed  Tea  Set,  beehive  pattern  mark  vase  and 
anchor,  2 teapots,  1 large  jug,  1 small  jug,  sugar  bowl, 
12  cups  and  saucers,  no  handles,  1 bowl,  2 cake  plates 
11  " marked  “Fountain  scenery’’,  6-7"  plates. 

349- Pink  Printed  Jug,  marked  Indian  Pagoda  J.J.J. 

350- 4  Mulberry  Cups  and  Saucers. 

351- 2  Mulberry  Plates,  7>T". 

352- Mulberry  Plate,  8". 

353- Brown  Printed  Tea  Pot. 

354- Black  Printed  Sauce  Boat  with  Tray. 

355- John  Wesley  Bowl,  6". 

356- Black  Printed  Sugar  Bowl,  child  and  kitten. 

357- Mottled  Mulberry  Jug,  9". 

358- 6-7"  Plates,  6 Cups  and  Saucers,  printed  in  green, marked 
Forest  Florentine  China  (beehive  in  mark). 

359- 6  Brown  Printed  Cups  and  Saucers  marked  “Fancy 
Flowers,  W.  R.,  opaque  china.’’ 

360- Blue  and  White  Printed  Set,  marked  Jones  and  Son, 
British  History,  12  Soup,  10",  12  Plates,  10",  12  Plates, 
8 IT",  6 Plates,  6",  Sauce  Boat,  Tray  and  Ladle,  and 
Cover,  1 Open  Vegetable  Dish,  2 Vegetable  Dishes  with 
Covers,  2 Platters,  14",  1 Platter,  17". 

361- Light  Blue  Printed  Sauce  Boat,  ladle  and  cover. 


362- Light  Blue  Printed  Sugar  Bowl. 

363- Light  Blue  Printed  Cream  Jug. 

364- 5  Light  Blue  Printed  Egg  Cups. 

365- Pair  Light  Blue  Printed  Pickle  Dishes. 

366- Light  Blue  Printed  Salt  Cellar,  5J^//. 

367- Light  Blue  Printed  Soup  Tureen,  with  cover,  12". 

368- Light  Blue  Printed  Pickle  Dish. 

369- Dark  “Flowing  Blue”  Tea  Set,  2 Tea  Pots,  Sugar 

Bowl,  2 Cream  Jugs,  Bowl,  14  Cups  and  10  Saucers, 
4 Sauce  Dishes. 

370- Vegetable  Dish  with  cover,  similar  to  No.  369. 

371- 11  Blue  Plates,  7^",  marked  “Hindustan”  Maddock. 

372- 4  Blue  Plates,  9",  marked  “Amoy”  and  incised 

“Davenport”. 

373- 3  Blue  Plates,  9^",  marked  “Amoy”  and  incised 

“Davenport”. 

374- 1  Blue  Plate,  10",  marked  “Amoy”  and  incised 

“Davenport”. 

375- Blue  Plate,  10",  marked  Tonquin,  J.  H.,  and  incised 
Heath. 

376- 2  Blue  Plates,  marked  W.  Adams  & Son. 

377- 1  Blue  Plate,  8",  Chapoo,  J.  Wedgwood. 

378- 1  Blue  Plate,  10",  marked  Shapoo,  T.  and  R.  B. 

379- 2  Dark  Flowing  Blue  10"  Plates,  marked  T.  Edwards. 

379A-2  Dark  Flowing  Blue  11"  Plates,  marked  Coburg. 

380- 18"  Very  Dark  Blue  Platter,  marked  “Oregon,  Chinese 
Fountain,  T.  J.  & J.  Mayer,  Longport”. 

381- Printed  Blue  Tea  Pot  with  bird. 

382- Printed  Blue  Tea  Pot,  Sugar  Bowl  and  Jug,  apple 
blossoms,  incised  Adams  mark. 

383- White  Pottery  Sugar  Bowl  and  Jug,  painted  with  dark 
blue  flowers. 

384- Wash  Bowl  and  Pitcher,  similar  to  383. 

385- Dark  Blue  Printed  Sugar  Bowl,  with  cover,  animal 
decoration. 

386- Dark  Blue  Printed  Coffee  Pot,  11"  high. 

387- Dark  Blue  Printed  Cup  and  Saucer. 

388- Dark  Blue  Printed  Cup  andSaucer,  First  Loco  motive. 

389- Dark  Blue  Printed  Cup  and  Saucer,  6",  Franklin  at  the 
grave  of  Washington. 


39°~Dark  Blue  Printed  Cup  and  Saucer,  7",  Franklin  at  the 
grave  of  Washington. 

391- Dark  Blue  Cup  and  Saucer,  7",  Landing  of  Lafayette. 

392- Sauce  Boat,  blue  pie  crust  edge. 

393- 4  Octagonal  White  Soup  Plates,  with  blue  pie  crust  edge. 

394- Same,  4",  Cup  Plate. 

395- Same,  Salt  Cellar. 

396- Same,  Salt  Cellar  on  pedestal. 

397- Same,  Sauce  Boat,  with  Tray,  Ladle  and  Cover. 

398- Same,  6"  Plate  with  raised  White  Festoons,  7"  blue  edge. 

399- Same,  6"  Plate  with  raised  White  Festoons,  7"  blue  edge. 

400- Same,  6"  Plate  with  raised  White  Festoons,  7"  blue  edge 
Portrait  of  Geo.  III. 

401- Round  Soup  Plate,  10",  raised  design  in  white,  blue  edge. 

402- 4  Round  Soup  Plates,  10",  blue  edge. 

403- 8  Stoneware  Plates,  blue  edge,  9". 

404- 4  Stoneware  Sauce  Plates,  blue  edge,  5". 

405- 8  Light  Blue  Printed  Soup  Plates,  10",  flower  design, 
white  edge. 

406- 11  Light  Blue  Printed  Plates,  marked  “Persian” 

with  bee  hive  in  mark. 

407- Blue  Printed  10"  Soup  Plate,  like  No.  406. 

408- 9  Dark  Blue  Printed  10^2"  Plates,  white  edge,  marked 
Ridgway’s  Asiatic  Palaces. 

409- Dark  Blue  Plate,  8",  marked  “Ironstone  Lobelia”. 

410- Dark  Blue  Printed  Sugar  Bowl,  as  is,  ship  scene. 

411- Dark  Blue  Printed  Open  Vegetable  Dish,  Bothwell 
Castle,  Clydesdale,  Adams,  incised. 

412- 6  Light  Blue  Printed  Plates,  marked  “Canterbury” 
incised  Herculaneum  with  crown. 

413- 2  Light  Blue  Printed  Plates,  9^2  ",  marked  “Catskill 
Moss,  Meredith  R.” 

414- 2  Light  Blue  Printed  Plates,  9",  marked  “Ontario  Lake 
Scenery,  B.  & D.” 

415- Light  Blue  Printed  Plate,  8^2",  marked  “Belzoni, 
E.  W.  & S.” 

416- Light  Blue  Printed  Plate,  8^2",  marked  “Syria”. 

417- Light  Blue  Printed  Plate,  marked  “Oriental,  W.  R. 
England,”  bee  hive  in  mark. 

418- Light  Blue  Printed  Plate,  7",  marked  “Spode”. 


419- 2  Light  Blue  Printed  Plates,  7",  marked  “Davenport”. 

420- Light  Blue  Printed  Plate,  8",  marked  “Davenport”. 

421- 5  Light  Blue  Printed  Plates,  8",  marked  “Lozere,  Iron- 
stone, E.  Challinor”. 

422- Light  Blue  Printed  Plate,  10",  marked  “Columbia, 
W.  Adams  & Son”. 

423- 4  Light  Blue  Printed  Plates,  8",  marked  “Columbia, 
W.  Adams  & Son”. 

424- Light  Blue  Printed  Plate,  8",  marked  “J.  Wedgwood”. 

425- Light  Blue  Printed  Plate,  8",  marking  indistinct. 

426- Light  Blue  Printed  Plate,  10",  marked  “Pearl  Stone 
Ware,  Venus,  P.  W.  & Co.”. 

427- Light  Blue  Printed  Plate,  10^2",  marked  “Bankirg, 
Challinor”. 

428- Light  Blue  Printed  Plate,  10^2",  marked  “Ironstone 
China,  Isolabelle,  W.  Adams  & Son’s”. 

429- Light  Blue  Printed  Plate,  iof^",  marked  “Palestine, 
J.  Ridgway,  Registered  No.  7154”. 

430- 5  Light  Blue  Printed  Plates,  io7/,  Asiatic  Pheasants, 
W.  & H.. 

431- 1  Light  Blue  Printed  Plate,  marked. 

432- Light  Blue  Printed  Plate,  10 marked  “Fountain- 
Scenery”. 

433- 2  Light  Blue  Printed  Plates,  10 marked  “President’s 
House,  Washington”. 

434- Light  Blue  Printed  Plate,  11",  marked  “W.  Penn’s 
Treaty,  T.  G.”. 

435- Light  Blue  Printed  Plate,  9",  marked  “Harper’s  Ferry 
from  the  Potomac,  W.  R.  & Co.”. 

436- Great  Fire  Plate,  Light  Blue  Print,  9",  marked  “Ruins 
Merchants’  Exchange”  N.  Y. 

437- Light  Blue  Printed  Platter,  17^",  Log  Cabin,  marked 
“Columbian  Star,  Oct.  28,  1840,  Ridgway”. 

438- Worcester  Tea  Set,  Gold  Bands  and  highly  colored 
Floral  Design,  Tea  Pot,  Sugar  Bowl  and  Tray,  Cream 
Jug,  2 Cake  Plates,  9",  6 Tea  Cups  and  Saucers,  1 Bowl, 
6 Coffee  Cups  and  5 Saucers. 

439- Worcester  Set,  marked  Flight  & Barr,  10  Plates,  9", 
1 Dish,  9 y2  \ 2 Square  Dishes,  8}4",  very  similar  to  No. 
438. 

440- IO  Porcelain  Plates,  6",  decorated  in  blue  gold  and 
red  scrolls  and  flowers. 


441- 6  Soup  Plates,  io",  decorated  in  brilliant  colors  and  gold, 
marked  “Imperial  Stone  China”. 

442- 6  Plates,  10",  decorated  in  blue,  red  and  gold,  marked 
incised  “Stone  China,  warranted  Clews”. 

443- Putty  colored  Mug  with  raised  flowers  in  color. 

444- Putty  Colored  Jug,  similar  to  No.  443,  4^". 

445- Cup  and  Saucer,  black  printed. 

446- Bowl,  6",  printed  in  black,  The  Play  Fellow. 

447- Yellow  Mug  with  portraits  of  Lafayette  and  Washington. 

448- Pottery  Cream  Jug,  painted  in  Blue. 

449- Cup  and  Saucer,  blue  band  and  colored  vine. 

450- Blue  Apostles  Syrup  Cup. 

451- Octagonal  Plate,  6",  painted  “The  Pretty  Doves”. 

452- House  with  two  towers  in  porcelain  and  place  to  hang 
watch. 

453- Bennington  Wash  Bowl  and  Pitcher. 

454- Bennington  Wash  Bowl  and  Pitcher. 

455- Frog  Mug. 

456- Covered  Bowl,  4^",  crackled  and  sprigged. 

457- 2  Figures  of  Child  with  horn. 

458- 2  Figures  with  2 Swans. 

459- Bennington  Soap  Dish. 

460- Bennington  Chamber. 

461- Bennington  Teapot,  13"  high. 

462- Bennington  Jug,  8"  high. 

463- Bennington  Sugar  Bowl  and  Cover. 

464- Bennington  Tobacco  Jar  and  Cover. 

465- 2  Bennington  Curtain  Knobs. 

466- Bennington  Weight  and  Scales  with  Shoe. 

467- Bennington  Bowl. 

468- Bennington  Teapot. 

469- Tulip  Pitcher,  brown  mottled  ware. 

470- “Rebecca  at  the  Well”  Teapot. 

471- Bennington  Tob)^. 

472- Bennington  Toby. 

473- Bennington  Candlestick. 

474- Bennington  Candlestick  . 

475- Bennington  Candlestick. 

476- 2  Pairs  Bennington  Door  Knobs. 


477~Brown  Jug,  child’s  figure  raised  on  side. 

478- Bennington  10"  Oval  Baking  Dish. 

479- Bennington  Round  11  " Oval  Baking  Dish. 

480- Bennington  Round  13"  Oval  Baking  Dish. 

481- Bennington  Cuspidor,  18". 

482- Bennington  Cow  Jug,  with  lid  on  back. 

483- Bennington  “Book  Bottle”  marked  “Departed  Spirits”. 

484- Bennington  Bottle  in  form  of  book. 

485- Bennington  Picture  Frame,  6"  x 8". 

486- Bennington  Doll’s  Wash  Bowl  and  Pitcher. 

487- Bennington  Cup  with  Standard  and  Handle. 

488- Bennington  Eight  Sided  Baking  Dish,  10". 

489- “Lowestoft”  Chinese  Platter,  18",  vine  border. 

490- Chinese  Helmet  Pitcher,  7". 

491- Chinese  Helmet  Pitcher,  7M. 

492- Chinese  White  Tea  Cady,  5 ",  decorated  with  black 
design. 

493- Chinese  Hot  Water  Jug,  6",  black  design. 

494- Chinese  Hot  Water  Jug,  6". 

495- Deep  Chinese  Plate,  9",  English  design  and  border. 

496- Chinese  Saucer,  6",  red  pie  crust  edge. 

497- Chinese  Saucer,  6",  red  medallion  Chinese  scene,  in 
center. 

498- Chinese  Cup  and  Saucer,  “Lowestoft”  style. 

499- Four  Cream  Ware  Salt  Cellars. 

500- Salt  Cellar,  brown  moss  painted  decoration. 

501- Pair  Open  Dishes,  copper  lustre  with  raised  flowers  in 
colors. 

502- Copper  Lustre  Teapot,  Sugar  Bowl,  Jug  and  Bowl,  6", 
blue  band  with  colored  flowers. 

503- Blue  and  Copper  Lustre  Mug. 

504- Copper  Lustre  Sugar  Bowl  and  Cream  Jug,  painted  with 
pink  flowers. 

505- 4  Cups  and  5 Saucers,  copper  lustre,  plain  and  fluted. 

506- Child’s  Play  Set,  copper  lustre,  Teapot,  Sugar  Bowl  and 
Creamer,  3 pieces. 

507- Copper  Lustre  Cup  and  Saucer. 

508- Copper  Lustre  Cup  and  Saucer. 

509- 3  Copper  Lustre  Salt  Cups,  painted. 

510- 3  Copper  Lustre  Salt  Cups,  painted. 


5 1 1-  3 Copper  Lustre  Salt  Cups,  white  band  painted. 

512- 3  Copper  Lustre  Salt  Cups,  pink  lustre  band. 

5 1 3 -  3 Copper  Lustre  Salt  Cups,  pink  lustre  band. 

514- 3  Copper  Lustre  Salt  Cups,  blue  band. 

515- Jug,  4",  olive  ground,  raised  white  design,  copper  lustre 
bands. 

516- Jug,  5",  blue  glazed  ground,  white  figure  in  relief,  rose 

and  copper  lustre  bands. 

517- Jug,  3",  copper  lustre  band  of  pink  lustre  ground,  resist 
white  vine. 

518- Copper  Lustre  Jug,  5",  brown  ground,  blue  band,  vine 
painted  in  rose  lustre  and  green. 

519- Copper  Lustre  Jug,  4 brown  band  with  raised  flowers 
painted  in  colors.  Purchased  at  Woodburne,  N.  Y. 

520- Copper  lustre  Jug,  4",  band  with  white  ground  painted 
in  colors. 

521- Copper  Lustre  Jug,  5",  two  green  bands  with  lustre 
scroll  over  them. 

522- Copper  Lustre  Jug,  5L2",  plain  blue  band,  three  rows 
beading. 

523- Copper  Lustre  Jug,  5L2  ",  blue  band  painted  with  copper 
lustre. 

524- Copper  Lustre  Jug,  6^2  ",  tulips  in  relief. 

525- Copper  Lustre  Jug,  7",  painted  with  pink  flowers. 

526- Copper  Lustre  Jug,  6^2",  broad  blue  band  painted  with 
lustre. 

527- Fluted  Copper  Lustre  Jug,  8",  painted  in  colors. 

528- Copper  Lustre  Jug,  7",  brown  band  with  scroll. 

529- Plain  Copper  Lustre  Jug,  7". 

530- Copper  Lustre  Jug,  S}4",  dancers. 

531- Copper  Lustre  Jug,  9",  yellow  band,  medallion,  “Sur- 
render of  Cornwallis”  one  side,  obverse  “Lafayette.” 

532- Copper  Lustre  Jug,  yellow  band,  same  as  No.  531  but 
5 " high . 

533- Copper  Lustre  Jug,  7",  red  band,  raised  flowers  in  color. 

534- Copper  Lustre  Jug,  6",  blue  ground,  raised  figures  in 
white  relief. 

535- Copper  Lustre  Jug,  6",  pink  band  and  lining,  painted. 

536- Copper  Lustre  Jug,  8 ",  two  pink  bands,  painted  in  lustre. 

537- Copper  Lustre  Jug,  7",  3 rose  lustre  bands,  vine  in  white 
resist  (cracked) . 


538- Copper  Lustre  Jug,  7",  2 medallions  with  transfer  print- 
ingin  colors.  “Charity/’ 

539- Silver  Resist  Jug,  5". 

540- Silver  Resist  Jug,  6". 

541- Silver  Resist  Jug,  6". 

542- Silver  Resist  Jug,  8>^". 

543- Silver  Resist  Jug,  5L2  ",  white  figures  in  relief. 

544- Silver  Resist  Jug,  5 white  leaves  in  relief. 

545- Silver  Resist  Jug,  5 ",  white  and  blue  painted  flowers. 

546- Silver  Lustre  Jug,  7^",  shell  pattern  showing  deep 
cream  pottery  underneath. 

547- Plain  Silver  Lustre  Jug,  7>^",  white  inside. 

548- Plain  Silver  Lustre  Fluted  Jug,  8". 

549- Silver  Lustre  Jug,  9",  broad  deep  lip. 

550- Silver  Lustre  Resist  Jug,  8J^",  canary  ground. 

551- Canary  Ground  Jug,  6",  painted  with  silver  lustre  and 
red. 

552- White  Jug,  grape  vine  in  relief  painted  in  colors,  silver 
lustre  band,  5". 

5 53- Same  as  552  but  6 ". 

554- White  Jug,  “pineapple”  relief,  painted  in  red  and  silver 
lustre,  6j|". 

555- Similar  to  554,  5 K'". 

556- White  Salt  Glaze  Jug,  blue  bands,  figures  in  relief. 
Incised  under  one  figure  Wellington. 

557- White  Stone  Ware  Jug,  raised  figures,  blue  bands, 
painted,  little  green  paint  also. 

558- Glazed  Stone  Ware  Jug,  figures  in  relief,  painted,  “Tam 
O’  Shanter,”  7>^". 

559- Same  as  558  but  9". 

560- White  Glazed  Jug,  5J^",  relief  pattern  painted  in  blue 
and  brown. 

561- Glazed  Jug,  6",  relief  painted  in  blue  and  brown,  band 
grape  vines  in  relief  painted  green  and  blue. 

562- Glazed  Jug,  7",  relief  design  painted  in  colors,  heart 
shaped  medajlion,  “Sportive  Innocense”. 

563- Glazed  White  Jug,  blue  band,  7",  scene  painted  in  rose 
lustre. 

564- Glazed  White  Jug,  6",  design  n relief  spread  eagle  in 
rose  lustre. 

565- Glazed  Cream  Jar,  5 reli  f design  in  rose  lustre. 


566- White  Glazed  Jug,  3^",  very  light,  relief  design  in 
white,  “Queen  Charlotte,”  rose  lustre  and  colors. 

567- White  Glazed  Jug,  5^",  yellow  ground,  dogs  in  relief, 
white  relief  vine  painted  in  colors  and  rose  lustre. 

568- White  Glazed  Jug,  7",  hunters  and  dogs  in  relief,  and 
vine,  painted  in  colors  and  rose  lustre. 

569- Cream  Glazed  Jug,  6",  green  ground,  dogs  and  vine  in 
cream  relief,  rose  lustre  bands. 

570- White  Glazed  Jug,  relief  design  painted  in  green  and 
rose  lustre. 

571- Plain  White  Glazed  Jug,  5J^",  band  transfer  print  of 
hunting  scene  in  colors,  rose  lustre  bands. 

572- White  Glazed  Jug,  children’s  figures  in  relief  with  goat, 
polychrome,  rose  lustre  bands. 

572A-Plain  Sunderland  Mottled  Rose  Lustre  Jug,  6". 

573- Sunderland  Mottled  Rose  Lustre  Jug,  9",  Sunderland 
bridge  and  inscription,  obverse,  Mariner’s  Arms.  Poem, 
“The  Sailor’s  Tear”. 

574- Bennington  Jug,  11 

575- Bennington  Jug,  11 

576- Bennington  Dog. 

577- Putty  Colored  Jug  with  relief  of  doors  and  windows 
painted  green. 

578- Putty  Colored,  Unglazed  Jug,  7L2",  band  with  hunting 
scene  in  relief,  steel  colored  metallic  bands. 

579- Crackled,  Glazed  Jug,  10",  broad  silver  lustre  band 

spout  repaired,  two  medallions  printed  in  black. 

580- Glazed  Deep  Ecru  Jug,  8",  three  medallions  painted  in 
black,  silver  lustre  bands. 

581- Glazed  Stoneware  Jug,  6",  black  printed  medallion 

“Welcome  Lafayette,”  obverse  medallion  ships. 

582- Glazed  Stoneware  Jug,  6",  black  printed  medallion 

“President  Washington,”  obverse  pastoral  scene. 

583- Glazed  Stoneware  Jug,  6",  black  printed  medallion 

“Welcome  Lafayette,”  obverse  scene  and  scroll  “July  4, 
1776,  America  declared  Independence”. 

584- Dark  Blue  Printed  Jug,  7",  Washington  at  the  Tomb  of 
Franklin. 

585- Dark  Blue  Printed  Jug,  8",  City  Hall,  New  York. 

586- Dark  Blue  Printed  Jug,  11",  “States  Pitcher”. 

587- Dark  Blue  Printed  Jug,  5 ",  “Washington  Independence”. 


588- Dark  Blue  Printed  Jug,  8^2",  rural  scene  and  weeping 
willow. 

589- Dark  Blue  Printed  Jug,  5^",  Boston  State  House 
with  cows,  obverse  City  Hall,  N.  Y. 

590- Dark  Blue  Printed  Jug,  4",  2 medallions  “Washington,” 
Lafayette  Eagle.  “Republicans  are  not  always  un- 
grateful/’ “In  commemoration  of  the  visit  of  Gen. 
La  Fayette  to  U.  S.  of  America  in  the  year  1824.” 

591- Dark  Blue  Printed  Jug,  4",  City  Hall,  New  York. 

592- Dark  Blue  Printed  Jug,  6",  inscription  to  Erie  Canal. 

593- Dark  Blue  Printed  Jug,  7",  Landing  of  Lafayette. 

594- Dark  Blue  Printed  Jug,  6",  “The  Duke  of  Wellington,” 
obverse  “Lord  Hill”. 

595- Glazed  White  Jug,  6",  blue  design  in  relief,  painted 
vine  and  letters  G.  S. 

596- Glazed  White  Jug,  7",  glazed  blue  ground  and  white 
figures  in  relief. 

597- Glazed  White  Jug,  6^/2",  bluish  lavender  glazed  ground 
figures  in  white  relief.  Serpent  spout  and  handle. 

598- White  Glazed  Hexagonal  Jug,  6}4  ",  relief  flowers  in  blue 

599- White  Glazed  Jug,  4",  blue  glazed  ground,  animals  in 
white  relief. 

600- Chinese  Barrel  Shaped  Jug,  g}4",  blue  and  white  twisted 
blue  handles. 

601- Crackled  Stoneware  Glazed  Jug,  11",  red  and  blue 
decoration,  green  dragon  handle. 

602- Similar  to  601,  6}4",  marked  “Mason’s  Patent  Ironstone 
China” . 

603- Gray  Glazed  Jug,  11",  much  relief,  fish  spout,  dragon 
handle,  bearded  face,  etc. 

604- Putty  Colored  Unglazed  Jug,  10",  heads  and  scrolls  and 
vine  in  relief,  glazed  inside. 

605-  Unglazed  Gray  Jug,  10",  scrolls  in  relief,  glazed  inside. 

606- Stoneware  Unglazed  “Apostle  Pitcher,”  9",  glazed  inside. 

607- White  Stoneware  “Apostle  Pitcher,”  8",  glazed  inside. 

608- Putty  Colored  Unglazed  Jug,  5",  trees  in  relief,  glazed 
inside. 

609- White  Parian  Jug,  8",  palm  trees  in  relief,  marked 
U.  S.  pottery. 

6o9A-Glazed  Jug,  5",  rural  scene  in  color  transfer  over  the 
glaze. 


610- Glazed  Jug,  5",  brown  ground,  moss  painted  under 
glaze. 

6ioA-Glazed  Jug,  5",  dark  bands,  blue  ground  and  design 
painted  in  colors. 

611- Crackled  Glazed  Ironstone  Jug,  7 >2",  printed  in  brown, 
marked  “Valetta  Opaque  Pearl,  J.  Hawley”. 

612- Putty  Colored  Glazed  Mug,  painted  with  blue  and  silver 
lustre. 

613- Pair  Rose  Lustre  Mottled  Candlesticks,  incised  mark 
Wedgwood. 

614- Octagonal  Plate,  mottled  rose  lustre,  incised  mark 
Wedgwood. 

615- Bennington  Lamp  Base,  9J^",  brown  mottled  standard, 
blue  base. 

616- 6  Ironstone  Plates,  9",  incised  “Real  Ironstone  China,” 
blue  bands  and  flowers. 

617- 6  Ironstone  Plates,  10",  like  No.  616. 

618- White  Plate,  9",  silver  lustre  bands,  house  in  center, 
printed  in  maroon. 

619- Porcelain  Plate,  9",  vine  pattern  printed  in  colors,  very 
thin  in  center. 

620- Six  Pink  Lustre  Plates,  9",  various  patterns. 

621- Pink  Lustre  Plate,  7". 

622- Four  Pink  Lustre  Cup  Plates,  4". 

623- Two  Pink  Lustre  Cream  Jugs,  4". 

624- Plate,  8",  border  in  relief  in  colors,  center-medallion  of 
Lafayette  and  Washington,  printed  in  red. 

625- Two  Bristol  Cream  Jugs  with  painted  flowers. 

626- Porcelain  Plate,  Rothenburg. 

627- Salt  Glaze  Teapot,  3 ",  basket  design. 

628- 2  Salt  Glaze  Pierced  Dishes  with  Handles,  11 

629- Wedgwood  Jaspar  medallion,  green  ground,  white 
figures  of  grasshoppers  and  fairies. 

630- Companion  piece  to  629.  Both  framed  in  black. 

631- Wedgwood  candle  stick,  Jaspar  ware,  green,  white  and 
lavender. 

632- Fifteen  light  blue  and  white  Wedgwood  Jaspar  medal- 
lions, each  with  a horse  in  a different  position.  De- 
signed by  the  English  horseman  Stubbs. 

633- Brass  mounted  port-folio  with  center  and  corner  inserts 
of  light  blue  and  white  Wedgwood  Jaspar  ware. 


634- Dark  blue  and  white  Wedgwood  Jaspar  ware,  flower 
pot  with  saucer,  12"  high. 

635- Blue  and  white  Wedgwood  Jaspar  panel  6"  by  12", 
Dancing  girls. 

636- Bennington  Toby  7"  high. 

637- Bennington  candle  sticks,  8". 

638- Bennington  candle  sticks,  8". 

639- Bennington  Jug  with  F.  W.  in  raised  initials  under  glaze. 

640- Bennington  cuspidor. 

641- One  dozen  Bennington  Door  Knobs,  round. 

642- Bennington  Door  Knobs. 

643- Dark  blue  printed  plotter. 

644- Dark  blue  printed  fruit  dish. 

645- Dark  blue  printed  plate. 

646- Dark  blue  printed  plate. 

647- Dark  blue  printed  plate. 

648- Dark  blue  printed  plate. 

649- Dark  blue  printed  plate. 

650- Dark  blue  printed  plate. 

651- Dark  Blue  Printed  Bowl,  9^",  Washington  at  the  grave 
of  Franklin . 

652- Dark  Blue  Printed  Bowl,  I2j^",  Washington  at  the  grave 
of  Franklin. 

653- Dark  Blue  Printed  Jug,  10",  Washington  at  the  grave 
of  Franklin. 

654- Dark  Blue  Printed  Sauceboat,  Tray,  Cover  and  Ladle 
Four  marked  “Falls  in  the  Catskill  Mts.”  Shell  border. 

655- Blue  Printed  Plate,  10",  “N.  Y.  from  Brooklyn  Heights. ” 
Incised  A.  Stevenson. 

656- Blue  Printed  Plate,  10",  Washington  and  Lafayette  in 
Medallion.  Marked  Stevenson  & Williams. 

657- Blue  Printed  Plate,  10",  not  marked.  “Franklin  at  the 
grave  of  Washington”  wrongly  printed. 

658- Blue  Printed  Plate,  9",  Freeman’s  Warehouse,  Chatham 
St.,  N.  Y. 

659- Blue  Printed  Plate,  Atheneum,  Boston,  I.  & W. 

Ridgway,  Beauties  of  America. 

660- Blue  Printed  Soup  Plate,  10",  Octagon  Church,  Boston, 
I.  & W.  Ridgway,  Beauties  of  America. 

661- Blue  Printed  Platter,  11  ",  Court  House,  Boston,  I.  & W. 
Ridgway,  Beauties  of  America. 


662- Blue  Printed  Open  Vegetable  Dish,  11^2",  Mt.  Vernon, 
Washington,  I.  & W.  Ridgway,  Beauties  of  America. 

663- Blue  Printed  Plate,  7",  Insane  Hospital,  Boston,  I.  & W. 
Ridgway,  Beauties  of  America. 

664- Blue  Printed  Soup  Plate,  Stoughton’s  Church, 

Philadelphia,  I.  & W.  Ridgway,  Beauties  of  America. 

665- Dark  Blue  Printed  Plate,  Library,  Philadelphia, 

I.  & W.  Ridgway,  Beauties  of  America. 

666- Blue  Printed  Plate,  10 ",  City  Hall,  New  York,  I.  & W. 
Ridgway,  Beauties  of  America. 

667-  Same  as  666. 

668- Blue  Printed  Plate,  8>^",  Library,  Philadelphia,  I.  & W. 
Ridgway,  Beauties  of  America. 

669- Blue  Printed  Plate,  10",  The  Dam  and  Water  Works, 
Philadelphia,  side  wheel. 

670- Dark  Blue  Printed  Plate,  10",  The  Dam  and  Water 
Works,  Philadelphia,  stern  wheel. 

671- Blue  Printed  Plate,  7",  Woodlands  near  Philadelphia, 
eagle  border. 

672- Dark  Blue  Printed  Plate,  7",  City  Hall,  New  York, 
eagle  border. 

673- Dark  Blue  Printed  Plate,  10",  Bank  of  the  United  States, 
Philadelphia,  eagle  border. 

674- Dark  Blue  Printed  Plate  8",  white  border,  New  York 
Battery. 

675- Dark  Blue  Printed  Plate,  8",  Hospital,  Boston. 

676-  Dark  Blue  Printed  Plate,  10",  Capitol,  Washington, 
R.S.&W. 

677- Dark  Blue  Printed  Soup  Plate,  City  Hotel. 

678- Dark  Blue  Printed  Plate,  9",  City  Hotel,  New  York, 
Oak  leaf  border. 

679- Dark  Blue  Printed  Plate,  10",  Water  Works,  Philadel- 
phia, oak  leaf  border. 

680- Dark  Blue  Printed  Plate,  10",  Park  Theatre,  New  York, 
oak  leaf  border. 

681- Dark  Blue  Printed  Plate,  10",  Alms  House  in  the  City 
of  New  York,  by  G.  Wall,  Esq. 

682- Dark  Blue  Printed  Plate,  7L2",  Columbia  College,  A. 
Stevenson. 

683- Dark  Blue  Printed  Plate,  10",  Exchange,  Baltimore. 


684- Dark  Blue  Printed  Plate,  10",  shell  border,  unmarked, 
Sidewheel  Steamer  “Chief  Justice  Marshal,  Troy”. 

685- Dark  Blue  Printed  Plate,  10",  Commodore  MacDon- 
oughs’  Victory. 

686- Dark  Blue  Printed  Plate,  10",  two  ships,  one  with  Ameri- 
can flag,  shell  border. 

687- Dark  Blue,  Printed  Plate,  10". 

688- Dark  Blue  Printed  Plate,  9",  Gilpin’s  Mills  on  the 
Brandywine  Creek,  shell  border. 

689- Dark  Blue  Printed  Plate  10",  shell  border,  “City  of 
Albany,  State  of  New  York,”  cows. 

690- Dark  Blue  Printed  Plate,  10",  “Constitution  & Guer- 
riere”  Wood. 

691- Dark  Blue  Printed  Plate,  10",  shell  border,  “Table 
Rock  Niagara”. 

692- Dark  Blue  Printed  Plate,  10",  Pine  Orchard  House, 
Catskill  Mountains. 

693- Dark  Blue  Printed  Soup  Plate,  10",  shell  border,  Pine 
Orchard  Hoiuse,  Catskill  Mountains. 

694- Dark  Blue  Printed  Plate,  9J^",  Transylvania  Univer- 
sity, Lexington,  E.  Wood  & Sons. 

695- Dark  Blue  Printed  Plate,  10",  Wood,  Baltimore  & Ohio 
R.  R.,  level. 

696- Dark  Blue  Printed  Plate,  9",  Baltimore  & Ohio  R.  R., 
incline. 

697- Dark  Blue  Printed  Plate,  8",  The  Capitol,  Washing- 
ton, Wood. 

698- Dark  Blue  Printed  9"  Plate,  shell  border,  Marine  Hos- 
pital, Louisville,  Kentucky. 

699- Dark  Blue  Printed  8"  Plate,  Washington. 

700- Dark  Blue  Printed  8"  Plate,  Erie  Canal,  Aqueduct 
Bridge  at  Rochester. 

701- Dark  Blue  Printed  Platter,  17",  marked  “Sandusky”, 
Ohio. 

702- Dark  Blue  Printed  Fruit  Dish  on  pedestal,  nj^",  “State 
House,  Boston,”  eagle  border. 

703- Dark  Blue  Printed  Round  Open  Vegetable  Dish,  10", 
“Harvard  College,  R.  S.  W.,”  fluted  white  edge. 

704- Dark  Blue  Printed  Soup  Plate,  10",  Table  Rock,  Niagara 

705- Dark  Blue  Printed  Soup  Plate,  10",  “Albany,”  cows 
and  men  in  a boat. 


706- Dark  Blue  Printed  Plate,  io ",  “Entrance  of  the  Erie 
Canal  into  the  Hudson  at  Albany”. 

707- Dark  Blue  Printed  Soup  Plate,  10",  “Erie  Canal,  view 
of  the  Aqueduct  Bridge  at  Little  Falls”. 

708- Dark  Blue  Printed  Plate,  9",  Lawrence  Mansion. 

709- Dark  Blue  Printed  Plate,  10",  Lawrence  Mansion. 

710- Dark  Blue  Printed  Plate,  10"  apple  blossom  and  fruit 
border. 

711- Dark  Blue  Printed  Plate,  “No  gains  without 

pains,”  Franklin’s  Morals. 

712- Dark  Blue  Printed  Plate,  10 ",  Arms  of  New  York, 
Mayer. 

713- Dark  Blue  Printed  Plate,  7^",  Arms  of  South  Carolina, 
Mayer. 

yj^-Dark  Blue  Printed  Plate,  9",  Arms  of  Rhode  Island, 
E.  Mayer,  Stoke. 

715-Cream  Pottery  Plate  with  blue  piecrust  edge,  10", 
portrait  of  “Capt.  Hull  of  the  Constitution”  printed  in 
black. 

7j5_Cream  Pottery  Plate  with  blue  piecrust  edge,  10", 
portrait  of  “Pike,  always  ready  to  die  for  your  country” 
printed  in  red. 

7J7-Dark  Blue  Printed  Plate,  10 ",  steamboat  and  cows. 

718-Dark  Blue  Printed  Plate,  5^2  ",  Mendenhall  Ferry, 
Stubbs,  incised. 

y^-Dark  Blue  Printed  Plate  ,6",  houses,  castle  and  two  men 
in  a boat. 

720- Same  as  719. 

721- Dark  Blue  Printed  Plate,  6^2",  shell  border,. 
“Highlands  Hudson  River,  near  Newburgh”. 

722- Dark  Blue  Printed  Plate,  6>^",  shell  border,  “Highlands 
Hudson  River,  near  Newburgh,”  different  from  721. 

723- Dark  Blue  Printed  Plate,  6J/2",  shell  border,  “Commo- 
dore MacDonough’s  Victory,”  E.  Wood  & Sons.  Burslem. 

724- Dark  Blue  Printed  Plate,  6}4",  shell  border,  “Cowle’s 
Harbour,”  E.  Wood  & Sons.  Burslem. 

725- Dark  Blue  Printed  Plate,  6^2",  “Cupid  Behind  Bars,” 
E.  Wood  & Sons.  Burslem. 

726- Blue  Printed  Plate,  6lA",  “Landing  of  the  Pilgrims,” 
Enoch  Wood  & Sons.  Burslem. 

727- Same  as  726  but  9". 

728- Same,  7VC'. 


729- Same,  10". 

730- Dark  Blue  Printed  Plate,  7",  eagle  border,  “Hoboken 
in  New  Jersey,”  Stevens  House. 

731- Dark  Blue  Printed  Plate,  8",  “Near  Fishkill”. 

732- Dark  Blue  Printed  Plate,  8",  “View  of  Trenton  Falls” 

733- Dark  Blue  Printed  Plate,  7J2  ",  oak  leaf  border,  Colum- 
bia College,  New  York,  R.  S.  W. 

734- Blue  Printed  Plate,  8J^",  inscription  at  opening  of  Erie 
Canal. 

735- Dark  Blue  Printed  Soup  Plate,  ioj^",  States  plate, 
house  and  cows  in  center.  Clews. 

736- Dark  Blue  Printed  Plate,  11  ",  States  plate,  house  and  two 
fishermen  center.  Clews. 

737- Dark  Blue  Printed  Plate  11",  States  plate  house  and 
cows  in  center.  Clews. 

738- Dark  Blue  Printed  Plate,  11",  States  plate,  house  and 
two  fishermen  in  center.  Clews. 

739- Same  as  738. 

740- Same  as  738. 

741- Same  as  738. 

742- Dark  Blue  Printed  Plate,  7",  house  and  two  women  in 
center.  Clews. 

743- Dark  Blue  Printed  Plate,  8",  house  with  balconies  in  cen- 
ter. Clews. 

744- Dark  Blue  Printed  Plate,  8",  same  as  743. 

745- Dark  Blue  Printed  Plate,  same  as  743. 

746- Dark  Blue  Printed  Plate,  same  as  743 . 

747- Dark  Blue  Printed  Plate,  same  as  743. 

748- Dark  Blue  Printed  Plate,  same  as  743 . 

749- Dark  Blue  Printed  Plate,  8",  same  as  743. 

750- Same  as  743 . 

751- Dark  Blue  Printed  Plate,  9",  States  plate,  house  and 
sheep  in  center.  Clews. 

752- Same  as  751. 

753- Dark  Blue  Printed  Plate,  10",  “La  Grange  the  residence 
of  the  Marquis  La  Fayette,”  E.  Wood  & Sons. 

754- Dark  Blue  Printed  Soup  Plate,  10",  copper  lustre  band 
“La  Grange  the  residence  of  the  Marquis  La  Fayette,” 
E.  Wood  & Sons. 

755- Dark  Blue  Printed  Plate,  7",  “Mt.  Vernon,  seat  of  the 
late  Gen.  Geo.  Washington”. 


756- Dark  Blue  Printed  Plate,  7",  “Philadelphia”. 

757- Dark  Blue  Printed  Plate,  7",  white  edge,  figures,  pa- 
goda and  weeping  willows. 

758- Same  as  757. 

759- Dark  Blue  Printed  Plate,  10",  “Water  Works,  Phila- 
delphia,” oak  leaf  border. 

760- Dark  Blue  Printed  Plate,  10",  Harvard  College,  R.  S.  W. 
Oak  leaf  border. 

761- Dark  Blue  Printed  Platter,  19".  Clews.  Landing  of  Gen. 
Lafayette  at  Castle  Garden,  New  York,  16  August,  1824. 

762- Dark  Blue  Printed  Plate,  7".  Clews.  Same  as  761. 

763- Dark  Blue  Printed  Plate,  9",  same  as  761. 

764- Dark  Blue  Printed  Plate,  10".  Clews. 

765- Same  as  764. 

766- Same  as  764. 

767- Dark  Blue  Printed  Platter,  17",  Dr.  Syntax  series, 

“A  Noble  Hunting  Party.”  Clews. 

768- Dark  Blue  Printed  Platter,  15",  Dr.  Syntax  series, 

“The  Advertisement  for  a Wife”. 

769- Dark  Blue  Printed  10"  Open  Vegetable  Dish,  Don 

Quixote’s  Library. 

770- Dark  Blue  Printed  10"  Soup  Plate.  Clews.  “Dr. 

Syntax  Mistakes  a Gentleman’s  House  for  an  Inn.” 

771- Dark  Blue  Printed  10"  Plate,  “Dr.  Syntax  and  the  Bees.” 
Clews. 

772- Dark  Blue  Printed  9"  plate,  Dr.  Syntax  star  gazing. 
Clews . 

773- Light  Blue  Printed  9"  Plate,  border  in  relief,  Dr.  Syntax 
star  gazing.  Clews,  incised. 

774- Dark  Blue  Printed  9"  Plate,  Dr.  Syntax  returned  from 
his  tour.  Clews. 

775- Light  Blue  Printed  9"  Plate,  border  in  relief,  Dr.  Syntax 
returned  from  his  tour.  Clews,  incised. 

776- Dark  Blue  Printed  Plate  6",  “Dr.  Syntax  and  a blue 
stocking  beauty.” 

777- Dark  Blue  Printed  Plate,  5L2",  “Dr.  Syntax  and  Dairy 
Maid”. 

778- Blue  Printed  Plate,  6",  Dr.  Syntax  and  Dairy  Maid. 

779- Blue  Printed  Plate,  7L2  ",  “Dr.  Syntax  turned  Nurse”. 

780- Dark  Blue  Printed  Plate,  9",  “Dr.  Syntax  reading  his 
1 our  . 


781- Same  as  780. 

782- Dark  Blue  Printed  Plate,  10",  “Dr.  Syntax  painting  a 
portrait” . 

783- Dark  Blue  Printed  Plate,  10",  “Dr.  Syntax  disputing 
his  bill  with  the  Landlady”. 

784- Same  as  783. 

785- Dark  Blue  Printed  Plate,  10",  “Dr.  Syntax  taking 
possession  of  his  Living”. 

786- Same  as  785,  darker  print. 

787- Blue  Printed  Plate — Imitation — “Dr.  Syntax  Reading 
his  tour.”  Placed  here  for  comparison. 

788- Dark  Blue  Printed  Platter,  11".  Clews.  “The  Rab- 
bit on  the  Wall  from  Wilkie’s  designs”. 

789- Dark  Blue  Printed  Platter,  11",  “Don  Quixote’s  Attack 
upon  the  Mills”. 

790- Dark  Blue  Printed  Sauce  Boat,  6 ",“Sancho  PanzaConflict’  ’. 

791- Blue  Printed  Soup  Plate,  8f^",  Court  House,  Balti- 
more. 

792- Cream  Ware  Plate,  9",  border  in  relief,  incised  “Clews 
Warranted  Staffordshire,”  same  mould  as  light  blue 
Syntax  plates  Nos.  773  and  775,  gilt  bands. 

793- Same  as  792. 

794- Same  as  792,  793. 

795- Blue  Printed  Plate,  6^T",  Boston  Court  House  with 
chaise. 

796- Light  Blue  Printed  Plate,  10",  inscription,  “Congress 
shall  make  no  law  respecting  an  establishment  of  religion; 
or  prohibiting  the  free  exercise  thereof:  or  abridging  the 
freedom  of  speech:  or  of  the  press:  or  the  right  of  the 
people  peaceably  to  assemble:  and  to  petition  the  Gov- 
ernment for  a redress  of  grievances.  Constitution  U.  S.” 

797- Light  Blue  Printed  Plate,  8",  incised  Davenport  with 
anchor.  Junk,  pagodas  and  willow  tree. 

798- Dark  Blue  Printed  Plate,  6yi".  E.  Wood  & Sons. 
Figure  of  Christ. 

799- Dark  Blue  Printed  8"  Plate.  St.  Paul’s  School,  London. 

800- Blue  Printed  Plate  7",  Boston  Court  House  with  cows. 
Rogers,  incised. 

801- Dark  Blue  Printed  Plate,  9",  center  medallion  fruit  and 
flowers . 

802- Dark  Blue  Printed  Plate,  iof^",  figures  in  boat,  feeding 
swans. 


803- Dark  Blue  Printed  Plate,  9",  figures  on  horses  in  clouds, 
incised  Wood  T. 

804- Dark  Blue  Printed  Plate,  9",  same  as  803. 

805- Blue  Printed  Soup  Plate,  9",  “Quebec.” 

806- Blue  Printed  Plate,  10",  Boston  Court  House  with  chaise. 

807- Blue  Printed  Plate,  10",  Boston  Court  House  with  cows, 
incised  Rogers. 

808- Dark  Blue  Printed  Soup  Plate,  10",  Chinese  scene  with 
zebra,  incised  mark  Rogers. 

809- Dark  Blue  Printed  Soup  Plate,  10",  figure  of  Christ 
talking  to  water  carrier,  incised  Wood. 

810- Dark  Blue  Printed  Plate  10",  white  edge  in  relief, 
cupid  behind  bars,  incised  Wood. 

811- Dark  Blue  Printed  Soup  Plate,  10",  girl  behind  bars 
reaching  for  grapes,  incised  Wood. 

812- Dark  Blue  Printed  Plate,  10^2",  figure  leading  mule, 
woman  and  child  on  mule.  Wood. 

813- Dark  Blue  Printed  Plate,  10",  fisherman  and  boat, 
woman  and  child  and  fish. 

814- Blue  Printed  Plate  11 ",  one  man  in  boat,  willow  pattern, 
3 men  on  bridge,  32  oranges,  2 birds. 

815- Dark  Blue  Printed  Plate,  10",  “Coronation  Clews.” 

816- Dark  Blue  Printed  Plate,  10",  medallion  with  shelfs  in 
center. 

817- Dark  Blue  Printed  Plate,  10",  “R.  Hall’s  Select 
Views.  Pains  Hill,  Surray.” 

818- Dark  Blue  Printed  Plate,  10",  “Sheltered  Peasants, 

R.  Hall.” 

819- Dark  Blue  Printed  Plate,  10",  “Palestine,  R.  Steven- 
son. 

820- Dark  Blue  Printed  Plate,  10",  “London  Views,  St. 

Phillip’s  Chapel,  Regent  Street.” 

821- Dark  Blue  Printed  Plate,  10",  “Bamborough  Castle, 
Northumberland .” 

822- Dark  Blue  Printed  Plate,  10",  Fonthill  Abbey. 

823- Dark  Blue  Printed  Plate,  10",  Guilford  Hall,  Suffolk. 
A.  Stevenson,  incised. 

824- Dark  Blue  Printed  Plate,  10",  Italian  scenery,  St. 

Peter’s,  Rome. 

825- Dark  Blue  Printed  Plate,  10",  scalloped  edge,  white 
relief,  Tomb  of  Absalom. 


826- Dark  Blue  Printed  Plate,  11",  scalloped  edge,  white 
relief,  two  men  and  dogs  hunting,  incised  Herculaneum. 

827- Same  as  825. 

828- Dark  Blue  Printed  Plate,  9",  scalloped  edge,  white 
relief,  “Field  Sports/’  two  men  and  three  dogs  hunting. 
Herculaneum. 

829- Dark  Blue  Printed  10"  Plate,  Fonthill  Abbey. 

830- Dark  Blue  Printed  Plate,  10",  Taymouth  Castle,  Perth- 
shire. Riley. 

831- Dark  Blue  Printed  Plate,  10 ",  Bamborough  Castle, 
Northumberland,  incised  Adams. 

832- Dark  Blue  Printed  Plate,  10",  “Llanarth  Court,  Mon- 
mouthshire. R.  HallT 

833- Dark  Blue  Printed  Plate,  10",  “Palestine.  R.  Steven- 
son.” 

834- Dark  Blue  Printed  Plate,  10",  “Buenos  Ayres.” 

835- Light  Blue  Printed  “Pine  Tree”  Platter,  17",  “No.  100, 
19  N.  Y.,  1839,  Coterie.” 

836- Blue  Printed  Plate,  7",  “Senate  House,  Cambridge, 
J.  & W.  Ridgway.” 

837- Dark  Blue  Printed  Plate,  7 ",  “Don  Quixote  and  Sancho 
Panza.” 

838- Dark  Blue  Printed  Plate,  8",  “Sancho  and  the  Priest  and 
the  Barber.” 

839- Dark  Blue  Printed  Plate,  8".  Clews.  “Playing  at 
Draughts.  From  Wilkie’s  Designs.” 

840- Dark  Blue  Printed  Plate,  9",  “The  Valentine  from 
Wilkie  Designs.” 

841- Dark  Blue  Printed  Plate,  8",  “Quadrupeds.” 

842- Dark  Blue  Soup  Plate,  9",  “The  Meeting  of  Sancho  and 
Dapple.” 

843- Dark  Blue  Printed  Plate,  10",  “Don  Quixote  and  the 
Shepherdess.” 

844- Dark  Blue  Printed  Plate,  10",  The  Mouse,  Wilkie  De- 
signs. 

845- Dark  Blue  Printed  Plate,  10",  Playing  at  Draughts, 
Wilkie  designs. 

846- Dark  Blue  Printed  Plate,  1 1 ",  “The  Valentine  from 
Wilkie  Designs.” 

847- Dark  Blue  Printed  Plate,  10",  “Don  Quixote  and  the 
Shepherdess.” 

848- Dark  Blue  Printed  Plate,  10",  “Mambrino’s  Helmet.” 


849~Dark  Blue  Printed  Plate,  io",  “The  Mouse  from  Wilkie’s 
Designs.”  Clews. 

850- Dark  Blue  Printed  Plate,  10",  “Sancho  Panza  hoisted 
in  the  Blanket.” 

851- Dark  Blue  Printed  Plate,  9",  “Winter  View  of  Pittsfield, 
Mass.”  Clews. 

852- Dark  Blue  Printed  Soup  Plate,  10",  “Sancho  Panza 
and  the  Bear  Hunt.” 

853- Dark  Blue  Printed  Plate,  9L2",  “The  Kent  East  India- 
man.”  Wood. 

854- Dark  Blue  Printed  Plate,  10",  “View  of  Liverpool.” 
E.  Wood  & Sons. 

855- Blue  Printed  Soup  Plate,  9",  “Peace  on  Earth.” 

856- Dark  Blue  Printed  Soup  Plate,  10",  marked  “Kaolin. 
Ware,  Shusan,  F.  & R.  P.  & Co.” 

857- Dark  Blue  Printed  Plate,  10",  “Fairmount  near  Phila- 
delphia.” Stubbs. 

858- Dark  Blue  Printed  Plate,  10",  “Peace  and  Plenty.” 
Clews . 

859- Blue  Printed  Plate,  11",  T.  Mayer,  Longport,  “Tomb 
of  Absalom,  Village  of  Siloam,  The  Book  of  Kedron.” 

860- Light  Blue  Printed  Plate,  10L2",  The  Boston  Mails, 
Ladies  Cabin.  Edwards. 

861- Light  Blue  Printed  Plate,  8",  Caldwell,  Lake  George. 
W.  R. 

862- Light  Blue  Printed  Plate,  7",  “The  Valley  of  Shenandoah 
from  Jefferson’s  Rock,”  W.  R.  S.  & Co. 

863- Light  Blue  Printed  Plate,  9",  “Harper’s  Ferry  from  the 
Potomac  Side,”  W.  R. 

901- Pink  Printed  Plate,  7",  scalloped  white  edge,  “Monte 
Video,  Connecticut,  U.  S.” 

902- Pink  Printed  Plate,  6",  “New  York,  U.  S.” 

903- Pink  Printed  Deep  Dish,  7",  “Monte  Video,  Connecti- 
cut, U.  S.” 

904- Pink  Printed  Platter,  14",  “Zoological  Gardens.  R.  &: 
J.  Clews.” 

905- Pink  Printed  Plate,  7",  “Monte  Video,  Connecticut, 

U.  S.” 

906- Pink  Printed  Soup  Plate,  ioj^",  “Headwaters  of  the 
Juniata,  U.  S.” 

907- Pink  Printed  Plate,  8",  “Shannondale  Springs,  Virginia, 

U.  S.” 


908- Pink  Printed  Plate,  io L2",  “Catskill  Mountain  House,, 
U.  S.” 

909- Pink  Printed  Plate,  8"  “Battery,  etc.,  New  York. 
Jackson’s,  warranted.” 

910- Pink  Printed  Plate,  8",  “Hancock  House,  Boston. 
Jackson’s,  warranted.” 

911- Same  as  910. 

912- Pink  Printed  Plate,  9",  “The  Race  Bridge,  Philadelphia. 
Jackson’s,  warranted.” 

913- Same  as  912. 

914- Same  as  912. 

915- Same  as  912. 

916- Same  as  912. 

917- Same  as  912. 

918- Pink  Printed  Plate,  9",  “View  near  Conway,  New  Hamp- 
shire, U.  S.” 

919- Pink  Printed  Plate,  10",  “State  House,  Boston.  Jack- 
son’s, warranted.” 

920- Pink  Printed  Plate,  9",  “Battle  Monument,  Baltimore. 
Jackson’s,  warranted.” 

921- Pink  Printed  Plate,  9",  Race  Bridge,  Philadelphia. 

922- Pink  Printed  Plate,  9",  “Baltimore  Monument.” 

923- Pink  Printed  Plate,  10",  “Residence  of  Richard  Jordan, 
New  Jersey.” 

924- Pink  Printed  Plate,  10",  “Harvard  College,  Boston.” 

925- Pink  Printed  Plate,  9 ",  Penn’s  Treaty  with  the  Indians. 

926- Pink  Printed  Plate,  9",  “Near  Conway,  New  Hamp- 
shire, U.  S.” 

927- Pink  Printed  Plate,  10",  “Catskill  Mountain  House.” 

928- Pink  Printed  Cup  Plate,  4",  “Thorpe’s  & Sprague  Mu- 
seum, Albany.” 

929- Pink  Printed  Cup  Plate,  4",  “Peace  on  Earth”. 

930- Pink  Printed  Cup  Plate,  4",  river  scene. 

931- Pink  Printed  Plate,  8)4",  “Palestine.” 

932- Pink  Printed  Plate,  8",  “The  Residence  of  the  Late 
Richard  Jordan,  New  Jersey.”  J.  H.  & Co. 

933- Same  as  932  but  9". 

934- Same  as  932  but  ioJ/Z"- 

935- Pink  Printed  Cup  and  Saucer,  no  handle. 

936- Six  Pink  Printed  Plates,  8",  black  printed  medallion  ia 
center.  Schramberg  incised.  Scenes  in  Munchen. 


937- Pink  Printed  Plate,  9>^",  center  printed  in  green. 

938- Pink  Printed  Plate,  9^2",  “Erie  Canal  at  Buffalo, ” 
lace  border.  R.  S. 

939- Pink  Printed  Plate,  9^",  “Texian  Campaign.” 

940- Pink  Printed  Plate,  9",  “Clyde  Scenery,  Jackson’s, 
warranted” . 

941- Pink  Printed  Plate,  11",  “St.  John”  on  face. 

942- Pink  Printed  Plate,  9",  Dumb  Asylum. 

943- Pink  Printed  Plate,  8",  “Castle  Garden.” 

944- Pink  Printed  Plate,  10",  “American  Cities  and  Scenery, 
City  Hall,  New  York,  C.  M.” 

945- Pink  Printed  Plate,  9JJL  “Boston  Mails,”  incised 
Porcelaine  a la  Perle,  J.  E. 

946- Maroon  Printed  Open  Vegetable  Dish,  12",  “Iron  Works 
at  Saugerties.  Jackson’s,  warranted”. 

947- Maroon  Printed  Plate,  9",  “Picturesque  Views  near 
Hudson,  Hudson  River.” 

948- Maroon  Printed  Plate,  9". 

949- Maroon  Printed  Plate,  9",  “Montreal.” 

950- Maroon  Printed  Soup  Plate,  11",  “St.  John.” 

951- Two  Maroon  Prints  Cups  and  Saucers,  no  handles. 

952- Two  Maroon  Printed  Cups  and  one  Saucer. 

953- Maroon  Printed  Plate,  9 ",  Fountains  of  Elisha  at  Jericho, 
T.  Mayer,  Longport. 

954- Maroon  Printed  Plate,  11",  Tomb  of  Absalom,  Village 
of  Siloam,  Brook  of  Kedron,  T.  Mayer,  Longport. 

955- Maroon  Printed  Plate,  iof^",  Columbus.  W.  A.  & S. 

956- Same  as  955,  printed  in  pink. 

957- Same  as  955,  printed  in  green. 

958- Maroon  Printed  Plate,  8",  “Millenium.” 

959- Blue  Printed  Plate,  9",  “Millenium”. 

960- Blue  Printed  Plate,  iof^",  “Millenium.” 

961- Pink  Printed  Plate,  ioj^",  “Millenium.” 

962- Black  Printed  Plate,  ioj£",  “Millenium.” 

963- Green  Printed  Platter,  15",  “Millenium.” 

964- White  Hexagonal  Plate,  6",  printed  in  colors,  “Robinson 
Crusoe.” 

965- Faience  Plate,  9",  painted  on  face  “Thomas  Perry,  1761 .” 

966- Glazed  Soup  Plate,  9",  imitation  Chinese. 

967- Glazed  Plate,  9",  blue  band,  painted  in  color. 


968- Cream  Crackled  Plate, pie  crust  edge,  10",  painted  in  blue. 

969- Blue  Printed  Plate,  ioj^",  picturesque  views  near  Fish- 
kill,  Hudson  River. 

970- Same  as  969. 

971- Same  as  969  but  printed  in  black. 

972- Black  Printed  Plate,  10^2",  “Pisturesque  Views,  Pitts- 
burgh, Pa.,”  Clews. 

973- Black  Printed  Plate,  10^2",  “Pisturesque  Views,  Troy 
from  Mt.  Ida,  Hudson  River.” 

974- Black  Printed  Plate,  10^",  “The  Lower  Lake  of  KiL 
larney.  Carey’s,  Felspar.” 

975- Black  Printed  Plate, % 6",  “Fort  Montgomery,  Hudson 
River.” 

976- Black  Printed  Plate,  7",  “At  Richmond,  Virginia* 
Jackson’s,  warranted.” 

977- Black  Printed  Plate,  7",  “Harvard  Hall,  Mass.,  Jack- 
son’s,  warranted.” 

978- Lavender  Printed  Plate,  8",  “Battery,  etc.,  New  York* 
Jackson’s,  warranted.” 

979- Green  Printed  Plate,  7",  “At  Richmond,  Virginia,  Jack- 
son’s,  warranted.” 

980- Blue  Printed  Plate,  9",  “The  Water  Works,  Philadel- 
phia, Jackson’s,  warranted.” 

981- Maroon  Printed  Plate,  io>£",  Palestine. 

982- Black  Printed  Plate,  9",  Fairmount  waterworks  on  the 
Schuylkill.  E.  W.  & S. 

983- Black  Printed  Plate,  8",  European  scenery.  E.  W.  & P. 

984- Black  Printed  Plate,  iojT",  “Picturesque  Views  near 
Fishkill,  Hudson  River.” 

985- Same  as  984. 

986- Same  as  984. 

987- Same  as  984. 

988- Same  as  984. 

989- Same  as  984. 

990- Same  as  984. 

991- Black  Printed  Plate,  9",  “Archery.” 

992- Black  Printed  Plate,  10 L2  ",  “Picturesque  Views,  Hudson*, 
Hudson  River.” 

993- Black  Printed  Plate,  9". 

994- Black  Printed  Plate,  ioj^",  “Hartford,  Connecticut* 
Jackson’s,  warranted”. 


995~Maroon  Printed  Plate,  ioj^",  Hartford,  Connecticut, 
Jackson’s,  warranted. 

996- Maroon  Printed  Plate,  10^",  view  of  the  Catskill 
Mountain  House,  Jackson’s,  warranted. 

997- Brown  Printed  Platter,  13",  “Oriental.’ 

998- Brown  Piinted  Plat i,  ioj^  , ‘State  House,  Boston, 
Jackson,  warranted.” 

999- Brown  Printed  Plate,  8",  ‘‘Hancock  House,  Boston, 
Jackson’s,  warranted.” 

1000- Brown  Printed  Plate,  9",  “The  Race  Bridge,  Phila- 
delphia, Jackson’s,  warranted.” 

1001- Brown  Printed  Plate,  9",  “W.  Penn’s  Treaty.  T.  G.” 

1002- Brown  Printed  Plate,  9",  “Picturesque  Views,  Baker’s 
Falls,  Hudson  River.” 

1003- Brown  Printed  Plate,  9",  incised  T.  Mayer.  Stoke. 

1004- Brown  Printed  Plate,  9". 

1005- Brown  Printed  Plate,  10",  Marmora.  W.  R.  & Co. 

1006- Brown  Printed  Plate,  10 y2" , Grecian.  W.  R. 

1007- Brown  Printed  Plate,  ioj^",  W.  Penn’s  Treaty.  T.  G. 

1008- Brown  Printed  Plate,  10^2  ",  “The  Narrows  from  Fort 
Hamilton” . 

1009- Brown  Printed  Plate,  ioj^",  “Fruit  Basket.” 

1010- Same  as  1009. 

1011- Same  as  1009. 

1012- Same  as  1009. 

1013- Brown  Printed  Plate,  10^2",  “Corinthian.” 

1014- Brown  Printed  Plate,  ioj^",  Regina  stoneware.  J.  R. 

1015- Three  Brown  Printed  Plates,  6".  E.  M.  E.  C. 

1016- Cream  Plate,  7",  animal  border  in  relief,  “Dr.  Syntax 
Sells  Grizzle,”  printed  in  red. 

1017- Blue  Printed  Plate,  7",  pass  in  the  Catskill  Mountains. 
E.  W.  & N. 

1018- Blue  Printed  Plate,  9",  R.  Hammersley,  eagle  on  face. 

1019- Blue  Printed  Plate,  8",  mottled  blue  border,  eagle  in 
blue. 

1020- Same  but  9". 

1021- Same  but  10". 

1022- Light  Blue  Printed  Plate,  ioj£",  Texian  Campaign. 

1023- Light  Blue  Printed  Plate,  10^2",  Pompeii.  J.  & G. 
Alcock. 


1024- Light  Blue  Printed  Plate,  10^2",  “The  Capitol,  Wash- 
ington. T.  Godwin  Wharf”. 

1025- Cup  Plate,  4",  printed  in  red,  medallion  of  Lafayette 
-and  Washington. 

1026- Painted  Faience  Tea  Pot,  8",  flowers  and  green  bands. 

1027- Dark  Blue  Printed  Platter,  18",  “Battery,  New  York.” 

1028- Dark  Blue  Printed  Plate,  10",  Wilkie  design,  mouse. 

1029- Dark  Blue  Printed  Plate,  8",  “Winter  View  in  Pittsfield, 
Mass.” 

1030- Dark  Blue  Printed  Plate,  10",  Wilkie  design,  playing 
draughts. 

1031- Dark  Blue  Printed  Plate,  8",  MacDonough’s  Victory. 

1032- Dark  Blue  Printed  Plate,  10",  Trenton  Falls. 

1033- Dark  Blue  Printed  Plate,  10",  two  ships,  two  men, 
shell  border. 

1034- Dark  Blue  Printed  Plate,  ioj^",  States  Plate,  center, 
house  and  two  fishermen. 

1035- Dark  Blue  Printed  Plate,  10",  French  castle. 

1036- Dark  Blue  Printed  Plate,  5",  three  dogs. 

1037- Dark  Blue  Printed  Plate,  5",  Landing  of  Lafayette, 
New  York,  1824. 

1038- Dark  Blue  Printed  Plate,  5L2  ",  Mambrino. 

1039- Dark  Blue  Printed  Cup  Plate,  4",  Sancho  Panza. 

1040- Dark  Blue  Printed  Cup  Plate,  4^",  castle  and  fountain. 

1041- Dark  Blue  Printed  Cup  Plate,  5",  castle  and  fountain. 

1042- Dark  Blue  Printed  Cup  Plate,  4L2",  castle  and  fountain. 

1043- Blue  Printed  Plate,  9",  Boston  Court  House  with  chaise. 

1044- Blue  Printed  Plate,  9",  Boston  Court  House  with  cows. 

1045- Dark  Blue  Printed  Plate,  10",  “City  Hall,  New  York, 
Beauties  of  America  Series.” 

1046- Dark  Blue  Printed  Plate,  10",  Fairmount  Park,  Phila- 
delphia. 

1047- Dark  Blue  Printed  Plate,  10 “Quadrupeds.” 

1048- Dark  Blue  Printed  Jug,  4". 

1049- Blue  Printed  Plate,  9^",  Landing  of  the  Pilgrims. 

1050- Dark  Blue  Printed  Platter,  18",  “Pennsylvania  Hospital, 
Philadelphia,  Beauties  of  America  Series.” 

1051- Dark  Blue  Printed  Platter,  16",  Wilkie  design,  playing 
draughts. 

1052- Dark  Blue  Printed  Platter,  16",  Mambrino. 


1053- Dark  Blue  Printed  Platter,  16",  Mendenhall  ferry. 

1054- Two  Dark  Blue  Printed  Salt  Cellars,  6". 

1055- Dark  Blue  Printed  Plate,  MacDonough’s  Victory. 

1056- Dark  Blue  Printed  Plate,  9",  City  Hall,  New  York,  oak 
leaf  border. 

1057- Dark  Blue  Printed  Plate,  8",  Wilkie  design,  playing  at 
draughts. 

1058- Dark  Blue  Printed  Plate,  8)4",  near  Fishkill,  Hudson 
River. 

1059- Dark  Blue  Printed  Plate,  9F2",  bridge  over  the  Schuyl- 
kill River. 

1060- Dark  Blue  Printed  Plate,  10",  home  of  Lafayette. 

1061- Dark  Blue  Printed  Plate,  10",  Gilpin’s  Mills. 

1062- Dark  Blue  Printed  Plate,  10",  Wilkie  design,  playing 
at  draughts. 

1063- Dark  Blue  Printed  Plate,  10",  home  of  Lafayette,  rear 
view. 

1064- Dark  Blue  Printed  Soup  Plate,  10^",  Baltimore  & 
Ohio  R.  R.  level. 

1065- Dark  Blue  Printed  Plate,  10",  shell  border,  “Dart- 
mouth,” ship  scene. 

1066- Dark  Blue  Printed  Plate,  10",  Wilkie  design,  playing  at 
draughts. 

1067- Dark  Blue  Printed  Plate,  10",  Nahant,  Mass. 

1068- Two  Blue  and  White  Printed  Salt  Cellars. 

1069- Dark  Blue  and  White  Printed  Jug,  4",  Washington  at 
Tomb  of  Franklin. 

1070- Dark  Blue  and  White  Printed  Jug,  4". 

1071- Brown  Printed  Plate,  11",  City  Hall,  N.  Y. 

1072- Brown  Printed  Plate,  10",  river  scene. 

1073- Brown  Printed  Plate,  10",  Hudson  River  near  Hudson. 

1074- Brown  Printed  Plate,  10",  Baltimore  Monument. 

1075- Brown  Printed  Plate,  10",  water  works,  Philadelphia. 

1076- Brown  Printed  Platter,  18",  Falls  at  Lucerne,  Hudson 
River. 

1077- Copper  Lustre  Mustard  Pot  and  Salt  Cellar  with  blue 
bands  with  design,  Nova  Scotia. 

1078- Copper  Lustre  Salt  Cellar,  plain  blue  band. 

1079- Copper  Lustre  Salt  Cellar,  3",  pink  lustre  and  white 
band . 

1080- Copper  Lustre  Salt  Cellar,  3",  pink  lustre  band. 


1081- Plate,  9",  copper  lustre  and  blue  edge,  octagonal,  poly- 
chrome painted  center. 

1082- Blue  and  White  Chinese  Reticulated  Teapot. 

1083- Copper  Lustre  Teapot,  sugar  bowl  and  creamer,  blue 
band  with  raised  flowers  in  colors. 

1084- Copper  Lustre  “Melon”  Teapot,  10". 

1085- White  Pottery  Boat-shaped  Teapot,  strawberry  band  in 
relief,  painted  in  colors,  blue  lines. 

1086- Bennington  Jug,  10". 

1087- Blue  Bennington  “Parian”  Vase,  10",  white  figures  in 
relief. 

1088- Openwork  Fruit  Dish'  with  standard  and  tray,  painted 
in  colors,  marked  Wedgwood. 

1089- Mulberry  Printed  Teapot,  15",  “Nova  Scotia.” 

1090- Mulberry  8 Sided  Platter,  18". 

1091- Mulberry  Printed  Plate,  9". 

1092- Two  Mulberry  Printed  Plates,  10". 

1093- Mulberry  Printed  Jug,  7". 

1094- Mulberry  Printed  Jug,  6". 

1095- Mulberry  Printed  Sauceboat,  5". 

1096- White  Cup  Plate,  3L2",  blue  printing  Gen.  Lafayette, 
incised  A.  Stevenson,  “Welcome  to  the  Land  of  Lib- 
erty . 

1097- Blue  Printed  Cup-plate,  4L2".  Clews.  Gypsy  figures 
and  Dr.  Syntax. 

1098- Blue  Printed  Plate,  5",  Court  House,  Boston.  R.  S.  W. 

1099- Dark  Blue  Printed  Cup  Plate,  3L2",  Enoch  Wood  & 
Sons.  Landing  of  Pilgrims. 

1 100- Dark  Blue  Printed  Cup  Plate,  3 >2",  Battery,  New  York, 
shell  border. 

1101- Dark  Blue  Printed  Cup  Plate,  3.^2  \ Battery,  New  York, 
fish  eye  border. 

1102- Same  as  1101. 

1103- Dark  Blue  Printed  Cup  Plate,  4". 

1104- Dark  Blue  Printed  Cup  Plate,  4",  Winter  View  of  Pitts- 
field, Mass.  James  Clews. 

1105- Dark  Blue  Printed  Cup  Plate,  4".  Clews. 

1106- Light  Blue  Printed  Cup  Plate,  4"  “The  Tyrant’s  Foe, 
The  People’s  Friend.” 

1107- Dark  Blue  Printed  Cup  Plate,  5",  “Winter  View,  Pitts- 
field, Mass.”  Clews. 


1108- Dark  Blue  Printed  Cup  Plate,  4",  eagle  and  shield. 

1109- Dark  Blue  Printed  Cup  Plate,  3",  Woodlands,  Phila. 

1 1 10- DarkBlue  Printed  CupPlate,3  ",“LandingofLafayette .” 
1 m-Same  as  mo,  with  medallion  center. 

1112- Same  as  mo,  4 yi" . Clews. 

1113- Dark  Blue  Printed  Cup  Plate,  white  edge,  octagon 
church,  Boston.  R.  S.  W. 

1114- Dark  Blue  Printed  Cup  Plate,  4",  scalloped,  white  edge. 

1115- Dark  Blue  Printed  Cup  Plate,  4",  quadrapeds. 

1116- Dark  Blue  Printed  Cup  Plate,  4",  Sancho  Panza. 

1117- Same  as  1 1 16. 

1118- Same  as  1 1 16. 

1119- Same  as  1 1 16. 

1120- Dark  Blue  Printed  Cup  Plate,  4",  States  plate,  with 
house  in  center.  Clews. 

1121- Dark  Blue  Printed  Cup  Plate,  4",  castle.  Enoch  Wood 
& Sons. 

1122- Light  Blue  Printed  Cup  Plate,  4",  “Richard  Jordan’s 
Residence.” 

1123- Light  Blue  Printed  Cup  similar  to  small  saucer,  4". 

1124- Blue  Printed  Cup  Plate,  4".  Clews. 

1125- Light  Blue  Printed  Cup  Plate,  4L2". 

1126- Light  Blue  Printed  Cup  Plate,  4",  Penn  and  the  Indians. 

1127- Light  Blue  Printed  Cup  Plate,  4",  moss  border. 

1128- Light  Blue  Printed  Cup  Plate,  4",  seaweed  border. 

1129- Three  Light  Blue  Printed  Cup  Plates,  4",  Oriental  scene, 
moss  border. 

1130- Two  Blue  Printed  Cup  Plates,  3^",  plaid  design  with 
flowers. 

1131- Blue  Printed  Cup  Plates,  3",  flower  design. 

1132- Two  Blue  Printed  Cup  Plates,  2 

1133- Blue  Printed  Cup  Plate,  4". 

1134- Five  Dark  Blue  Printed  Cup  Plates,  4". 

1135- Dark  Blue  Printed  Cup  Plate,  4 “Circassia,”  J.  & 
G.  Alcock,  Cobridge. 

1 136- Dark  Blue  Printed  Cup  Plate,  4%  “E.  Phillips,  Burslem,” 
incised . 

1137- Dark  Blue  Printed  Cup  Plate,  5",  “Wood”,  incised. 

1138- White  Cup  Plate,  blue  pie  crust  edge,  4L2",  incised 
“Davenport”. 


H39-White  Cup  Plate,  blue  piecrust  edge,  3 yi" . 

1140- White  Ten-sided  Cup  Plate,  printed  in  black,  incised 
“Ironstone” . 

1141- Two  Blue  Printed  Cup  Plates,  3^",  fruit  and  flowers. 

1142- Black  Printed  Cup  Plate,  4". 

1143- Black  Printed  Cup  Plate,  4". 

1144- Black  Printed  Cup  Plate,  4". 

1145- Black  Printed  Cup  Plate,  5". 

1146- Brown  Printed  Cup  Plate,  3E2". 

1147- Brown  Printed  Cup  Plate,  4". 

1148- Brown  Printed  Cup  Plate,  5". 

1149- Green  Printed  Cup  Plate,  4". 

1150- Maroon  Printed  Cup  Plate,  5",  Remains  of  Babylon. 
T.  Mayer,  Longport. 

1151- Maroon  Printed  Cup  Plate,  4^". 

1152- Pink  Printed  Cup  Plate,  4". 

1153- Maroon  Printed  Cup  Plate,  4",  large  building  and  man 
on  horseback. 

1154- White  Cup  Plate,  printed  in  red  and  red  band,  3 
child  and  dog. 

11 55- White  Cup  Plate,  printed  in  red  and  red  band,  3 
medallions  of  Lafayette  and  Washington.  Wood. 

1156- White  Cup  Plate,  printed  in  red  and  red  band,  3^", 
portrait  of  Jackson. 

1157- Six  White  Cup  Plates,  printed  with  pink  flowers,  4". 

1158- Dark  Blue  Printed  Cup  Plate,  3^",  playing  at  draughts. 

1159- Dark  Blue  Printed  Cup  Plate,  4^". 

1160- Chinese  Hot  Water  Dish,  printed  in  brown,  14L2". 

1 161- Two  Chinese  Cups  and  Saucers,  no  handles,  decorated 
with  red  vine. 

1162- Chinese  Cup  and  Saucer,  no  handles,  decorated  in  red 
ribbon  design. 

1163- Soft  porcelain  English  statuette,  man’s  figure,  back- 
ground vine  and  blue  flowers,  10". 

1164- English  Soft  Porcelain  Statuette,  7",  woman’s  figure 
with  dog,  painted. 

1165- White  10"  Plate,  printed  in  black,  Boston  mails,  gentle- 
man’s cabin. 

1166- White  Fluted  10^2 " Plate,  printed  in  black,  Boston 
mails,  ladies’  cabin. 

1167- Same  as  1166,  printed  in  light  blue. 


1168- White  Fluted  Plate,  9P2",  8 medallions,  printed  in  colors 
on  border. 

1169- Cap  Flower  Design,  White  Teapot. 

1170- Teapot  printed  in  maroon. 

1171- Teapot  painted  in  flowers,  several  colors. 

1172- Light  Blue  Printed  Teapot. 

1173- White  Eight-sided  Teapot. 

1 174-  Crackled  Cream  Teapot,  painted  morning-glories. 

1175- White  Teapot,  printed  in  lavender. 

1176- Twelve  Light  Blue  Printed  Plates,  11". 

1177- Twelve  Light  Blue  Printed  Plates,  10". 

1178- Seven  Light  Blue  Printed  Soap  Plates,  9^". 

1179- Platter,  blue  pie  crust  edge,  14". 

1180- Two,  same  as  1179  but  16". 

1181- Same  as  1179  but  18". 

1 182- Octagonal  Light  Blue  Printed  Vegetable  Dish  with 
Cover,  moss  border. 

1183- Another  similar  to  1182. 

1184- Platter,  16",  with  flowers  in  color  and  dark  blue  bands. 

1185- Two  same  as  1184  but  10". 

1186- Sauceboat  to  match  1184,  with  cover. 

1187- Light  Blue  Printed  Tea  Set  with  eagles,  35  pieces. 

1 188- Fourteen  Light  Blue  Printed  Plates,  10". 

1189- Ten  Light  Blue  Printed  Sauce  Dishes,  5". 

1190- Dark  Blue  Printed  Platter,  18",  “Lobelia,  G.  Phillips, 
Longport”. 

1191- Blue  Willow  Pattern  Platter,  14". 

1192- Light  Blue  Printed  Platter,  14",  Geneva.  J.  Heath. 

1193- Cream  Ware  Octagonal  Platter,  beaded  edge,  14". 


